Every week I get at least two or three emails from filmmakers asking for lens buying advice. I usually get asked a few different questions “What modern cine lenses would you recommend for a filmmaker on a tight budget? Are the Rokinon XEEN lenses a good choice?
I usually explain that there is no one-size-fits-all approach when it comes to lenses. Every filmmaker has different needs (and creative preferences), and no one lens kit fits all…
I would also add that just because something is labeled as a cinematic lens doesn’t mean it will automatically perform well. From an optical perspective, most low-budget cinema lenses are similar, if not identical, to DSLR glass lenses. In some cases they may not even be as good as digital SLR lenses (performance-wise), depending on which two lenses you’re comparing.
Of course, they’re priced accordingly and fill an important gap in the market right now; filmmakers who need the capabilities of a cinema lens at a lower cost.
But functionality is only one side of the equation. For a cine lens to truly be a cine lens, at least in my opinion, it has to work in two ways: Image quality and physical design.
Most low-budget cinema lenses only meet one of these two criteria – Physical design. They function like movie lenses, with gears, manual apertures, long focal lengths, distance markers, etc., but they can’t resolve specifically movie images…at least not any better than any other decent digital SLR.
Take the Rokinon XEEN lens as an example. For about $2,000 per lens, you can get the same image quality as the Cine-DS series, which only costs a few hundred dollars. There’s almost no noticeable difference in image quality, with both lenses using the same glass. One is just dressed as a cine lens, the other looks like most other digital SLR lenses.
As shown below, the 50mm XEEN sits next to the 50mm Cine DS. Both from Rokinon –
This is not a knock on Rockinon by any means. I owned several of their lenses and shot a lot of movies with them. They have served me well and I really respect what they are doing – bringing cinema lens capabilities to the low budget market.
There are several other companies trying to achieve this, but I’m using Rokinon as an example because they are one of the most affordable (and therefore sought after) companies in the space.
Generally speaking, most budget-friendly (under $2500 per lens) cine lenses focus more on physical appearance and functionality than image quality. If you’re shooting corporate commercials, industrial, or certain types of television content, they might be the perfect choice. They function just like real cinema lenses on set, and they will look Also professional, which is important if you’re doing client work.
But if you’re shooting narrative content, high-end commercials, music videos, or anything with an artistic aesthetic, they may not be the best choice. Instead of spending $8,000 to $10,000 on a set of XEEN lenses, you can spend a fraction of that on some DSLR lenses, eliminate the aperture (if you even need one) and add some follow focus gear. For less money, you can have a lens that delivers better images and functions nearly as well as a cine lens.
In terms of functionality, they are not true cine lenses, but will almost certainly produce superior quality. If this is your first goal, it’s definitely something to consider…
Some of my favorite lenses for shooting are vintage Nikkor manual lenses or Canon FD lenses. I purchased an almost never used 50mm F1.4 Nikkor lens for less than $100 and in my opinion it provides better images than any cheap 50mm cine lens I have ever used many. It’s not a pleasure to shoot with, but for a hundred bucks and a superior IQ, I’m willing to tackle these workarounds.
Let’s not forget that you can find the best of both worlds when buying lenses. You don’t always have to choose between functionality and quality. There are some low-cost cinema lenses that can satisfy both needs.
In most cases this means buying a second-hand lens (more on that below), or considering a specialty lens, e.g. Veydra Mini Prime, It produces incredibly beautiful images and is built like a little tank. I can’t tell you how many filmmakers have recommended these lenses as well. The same goes for SLR Magic, who are one of the few companies making relatively affordable cine lenses that don’t compromise on image quality.
But these companies are the exception, not the rule. Most ultra-low budget cinema lens options on the market do not fall into this category.
Once you add vintage footage into the mix, though, a different conversation emerges. There are many incredible classic cine lenses on the used market, including Zeiss, Cooke, Angenieux, and more, many of which cost less than a Rokinon XEEN (or similar lens). They have so much character and last a lifetime…which is why they retain their value decades after they are discontinued.
If you’re lucky enough to buy Super 16 glass, you can really find some good stuff. Some of my favorite lenses are vintage S16 primes and zooms, many of which can now be purchased online for $1000 to $3000. That’s still a lot of change, but at least you’re really getting great value…
The bottom line is – newer and more expensive doesn’t mean better. With most modern low-budget cinema lenses, you’re typically paying for the physical construction of the lens, not the image quality. That doesn’t mean the image quality isn’t good enough, it just might not be its strongest feature. If this suits your needs, then by all means invest in a set. There are countless productions that are happily using lenses like the XEEN and making wonderful lives with them.
But if you want the best optics, you may want to look beyond most of today’s affordable cine lens offerings… It will almost certainly be more cost-effective to buy a manual digital SLR lens and modify it, or buy some vintage glass secondhand.
Do you buy used cinema lenses? Let me know some of your favorites in the comments below.
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