DZOFILM offers quite a large line of cinema lenses, such as the Arles set of lenses, which then expanded with the Arles B Set. When asked why DZOFILM decided to expand into the probe zoom lens market, Susanne said they are always eager to push the boundaries and give something new to their users.

Versatile design with three versions

There are now three versions of the X-tract lens – 0° (direct view), 90° (periscope), and 360° (periscope). The angled 360° version lets you capture both low and overhead shots by rotating the lens a full 360 degrees. Susanne explained that the 360° version works with two prisms to get at all the angles. The X-tract covers full-frame and zooms from 18 to 28mm at a consistent aperture of T8 to T45, which is rare for a probe lens.

With up to 2.1:1 magnification and parfocal design, you can move from extreme close-ups to wider framing without needing to refocus or move the camera. The lens includes 0.8 MOD gears for focus, iris, and zoom, and features a 300° focus rotation for precise control when paired with a follow-focus system. Nino also pointed out that chromatic aberration appears to be minimal, even at close focus.

Compact build for tight spaces

Despite all that flexibility, the X-tract lens is quite compact at just 41.4 cm (16.3 inches) long with a front diameter under 3cm (1.2 inches), so it should work very well in tight setups or tabletop work, for example. It weighs 1.08 kg (2.38 lb). The lens focuses as close as 0.24 inches, and the straight version gives a direct forward view, while the 90° and 360° options open up more creative angles depending on what you’re shooting.

Key features of the DZOFILM Probe

• Full Frame | T8 Maximum Aperture
• Innovative 90° Probe Zoom
• 0.8 MOD FIZ Gears, 300° Focus Rotation
• 2.1:1 Image Magnification
• Versatile 73 to 100° Angle of View
• Minimum Focus: 0.24″
• <1.2″ Front Outside Diameter
• Compact 16.3″ Length
• ED and HRI Elements Reduce Aberrations
• Waterproof, Dustproof, and Anti-Fog

Specifications

• Focal Length – 18 to 28mm
• Maximum Aperture – T8
• Lens Mount – ARRI PL
• Angle of View – Full Frame (Horizontal: 100 to 73°)
• Zoom Ratio – 1.56x
• Minimum Focus Distance – From front of lens: 0.2″ / 6 mm
• Maximum Magnification Ratio – 2.1:1
• Lens Mounting – 1x 1/4″-20 (via Included Support Foot), 3x 3/8″-16 (via Included Support Foot)
• Gear Standard – Focus: 0.8 MOD, Iris: 0.8 MOD, Zoom: 0.8 MOD
• Gear Rotation – Focus: 300°

Price and availability

The X-tract 0° and 90° Macro Zoom Probe Lenses are available now, each priced at $3,499 / €3,531.70. They currently ship with a PL mount, but Susanne mentioned that an EF mount option is coming. The 360° version is expected to be released within the next month. For now, the lenses are only sold individually, though a full set may become available once all three versions are out. For more information, please see the DZOFILM website.

How would you use a macro zoom probe like this in your own workflow? What’s your ideal setup for getting extreme close-ups? Does this kind of lens solve a problem for you, or just open up new creative rabbit holes? Let us know in the comments below!

Last year at the IBC trade show, BLAZAR introduced the APEX 1.33x – the first anamorphic lens with autofocus. This time, during NAB 2025, the Chinese lens company introduced a new anamorphic lens series – the BLAZAR Mantis. We were, of course, at the NAB show floor to talk about the details of the new lens series. Let’s dive right into it.

BLAZAR Mantis – 1.33x anamorphic with the 2x look

Although the squeeze ratio is only 1.33x, BLAZAR emphasizes that the lenses deliver a 2x look characteristic. As Jaxon Schriever from BLAZAR showed us, the Mantis lenses have an oval-shaped 14-bladed IRIS mechanism at the back that stays consistent through the whole T-stop range. That results in the out-of-focus areas looking more stretched than 1.33x (oval bokeh typical for anamorphic).

The Mantis lens set contains five focal lengths:

• 25mm T2.4
• 35mm T2.0
• 50mm T2.0
• 75mm T2.0
• 100mm T2.4

The practicality of the BLAZAR Mantis 1.33x squeeze ratio lies in the ability to provide an anamorphic look to cameras that do not offer open gate modes or have 16:9 or 17:9 image sensors. These cameras would not have enough vertical resolution to fully make use of a 2x anamorphic lens, for instance.

When it comes to close focus, the 25mm can focus as close as 1.25ft (0.38m), the 35mm and 50mm manage 1.57ft (0.48m), and finally, the 75mm and 100mm lenses feature a close focus of 2.2ft (0.67m). The focus throw is the same on each lens in the set – 180°.

In terms of sharpness, the Mantis line should be on par with the Remus line, perhaps a tiny bit sharper as the squeeze ratio is lower. The flares show a slight amber tint.

BLAZAR also claims the lenses are compact and lightweight, ranging from 1.43 lbs (650g) to 1.74 lbs (790g). The front diameter is the same across the whole set – 80mm. When it comes to the front filter thread, all the lenses in the series except the 25mm lens feature a 77mm thread.

Mantis lenses come natively in PL and E mounts, with full support for EF, RF, Z, and L mounts. Thanks to Mantis’s interchangeable mount design, you can switch between all these mounts.

Price and availability

The first BLAZAR Mantis lenses (35mm, 50mm, and 75mm) will be available for pre-order from May 2025, and they should ship in June 2025. The other two focal lengths (25mm and 100mm) will open for pre-order in June 2025 and should ship in July 2025.

Pricing of the BLAZAR Mantis lenses has not been finalized yet, but Jaxon told us it should be somewhere around $1,000 to $1,200 per lens (similar to BLAZAR Remus pricing).

Do you use 1.33x anamorphic lenses for your productions? What do you think about the new BLAZAR Mantis series? Let us know your thoughts in the comments section underneath the article.

If you’ve never heard of SongRaw before, don’t worry. This is the company’s first product. It was founded by multiple former engineers and lens designers who decided to join forces to start a new company. For their first product, the company decided to focus on creating a new lens design and release what is, according to them, the “first Chinese 50mm F1/2 Full-Frame autofocus mirrorless camera lens.”

SongRaw AF 50mm F/1.2 Moonlit – features

The SongRaw AF 50mm F/1.2 Moonlit is a compact prime lens mainly made out of aluminum that weighs 900g/1.98lbs. As previously mentioned, this lens covers Full-Frame image sensors, which is fairly impressive for a budget-friendly lens, considering its large F/1.2 maximum aperture.

On the lens, you’ll find one focus ring, one aperture ring, and two switches: one AF/MF switch and one to de-click the aperture ring.

On the inside, the SongRaw AF 50mm F/1.2 Moonlit features STM stepping motors for fast and accurate autofocus. According to SongRaw, the lens should be compatible with all AF modes your camera offers, including eye-tracking capabilities. Last but not least, the lens features an internal autofocus system, meaning the front of the lens doesn’t move when you focus.

Lens design

The lens design of the AF 50mm F/1.2 Moonlit consists of 15 elements in 10 groups, including two aspherical lens elements, to minimize chromatic aberrations and reduce distortions.

The aperture diaphragm features 13 blades. Lastly, the minimum focusing distance is 52cm/20.4in, and the front filter diameter is 72mm.

Pricing and availability

The AF 50mm F/1.2 Moonlit should be available to order by the end of April for around $950 to $1,100.

For more information, please visit SongRaw’s website here.

What do you think about this new compact full-frame 50mm F/1.2 lens? Would the F/1.2 maximum aperture be helpful for the kind of content you shoot? Don’t hesitate to let us know in the comments down below!

NiSi Filters is a Chinese company with over 20 international patents in photography and filmmaking. At last year’s IBC 2024, we had a first look at their Tuned full-frame prime lenses and also reviewed the NiSi ATHENA prime lenses, which you can read about here. This year, NiSi is introducing us to their new AUREUS PRIME T1.4 Cinema Lens Series, engineered for full-frame and large-format sensors.

Optics and aperture

Each lens covers a 46mm image circle, is optimized for large-format sensors, and is compatible with super 35mm. The T1.4 aperture will give you strong low-light performance and shallow depth of field control, while the 11-blade iris produces a rounded, natural-looking bokeh. NiSi states that sharpness and contrast are maintained consistently across the aperture range from T1.4 to T22.

Image quality and handling

The optical design includes ultra-low dispersion elements and advanced coatings to reduce chromatic aberration, flare, and ghosting. Color rendering is kept neutral across the set, with minimal focus breathing during pulls. NiSi claims that the lenses exhibit virtually no focus breathing, helping maintain stable framing throughout focus transitions. A 300° focus throw provides precise, repeatable manual control.

Mechanical design and workflow of NiSi AUREUS

All the lenses in this series share a uniform 90mm front diameter, 86mm filter thread, and a similar weight averaging around 1300g (45.9 oz). Focus and aperture ring positions are matched across the set for ease of use when rigged, and glow-in-the-dark markings improve visibility in low-light conditions. Focus scales are available in feet or meters and can be swapped by the user with a tool that’s included.

The minimum focus distance for the 18mm lens is 0.25m (9.8 ft).

Key specs for the AUREUS PRIME T1.4 Cinema Lens Series

Rear filter mount and mount compatibility

A built-in rear filter holder supports ND, diffusion, or creative filters, which should be useful for compact setups on gimbals, drones, or handheld rigs where front-mounted filtration is impractical. The lenses come in PL mount and support flange distances from 16.1mm to 19.8mm, making them compatible with a wide range of PL-mount cameras and adapters.

NiSi AUREUS designed to pair with ATHENA PRIME

NiSi notes that the AUREUS series is designed to complement their ATHENA PRIME lenses. The AUREUS series features faster T1.4 apertures and rear filter support, but it shares similar optical characteristics with the ATHENA line, making both sets easy to use together on the same production.

Price and availability

The AUREUS PRIME lenses are available for pre-order, with most focal lengths priced at $2,299. The 18mm is priced at $2,599. A 5-lens kit is offered at $9,999. Full details are listed on the NiSi website.

Have you already tried the NiSi ATHENA lenses? Would you invest in a full prime set like this, or would you prefer to mix and match from different brands? Let us know in the comments!

Cine lenses have only recently made the leap toward full-frame sensor sizes (a standard coming from still photography, relating to the 135mm film used in still cameras), but cameras with larger sensors are pushing the market’s envelope, and KIPON has risen to the task. While large format cine cameras are theoretically available, their price point makes them hard to get. But this gap has been recently filled by FUJIFILM, which joined the hybrid market late but pioneered the hybrid medium-format segment.

A rare breed

While some selected lenses may be fitted onto a GFX body via a dedicated mount or a PL adapter, few, if any, are made to cover the entire sensor. One option is the NiSi ATHENA PRIME line, but they offer an official image circle of 46mm, a tad shorter than the GFX 44x33mm sensor diagonal. This is where the KIPON CINESPEED65 should step in. “Should” because we haven’t seen footage or image circle figures. While it is fair to assume the lens will cover the entire sensor, hopefully with some buffer for IBIS movements, we still need more details.

Build and ergonomics

The KIPON CINESPEED65 follows the classic dual-ring control scheme used by countless cine prime lenses. A wide, geared focus ring is at the front, and a smaller iris/aperture ring is at the back. The one image we have hints at a non-linear iris mechanism, with a longer throw in the wide aperture range and a shorter throw towards the narrow settings. The lens seems to feature a tripod leg on the front third, quite a common trait of cine lenses this size and above.

Not a newbie

KIPON may not be a well-known lens maker, but the company is no stranger to optic design and manufacturing. As one of the leading adapter manufacturers, the company offers a wide array of optical adapters, be it focal reducers (aka speed boosters) or x1.26 extenders, that will spread a full-frame lens across a GFX sensor.

Price and availability

As mentioned above, few details have been disclosed regarding the KIPON CINESPEED65. Aside from being a fairly large f/1.4 65mm lens with mechanical controls, we don’t know much, and that also goes for price and availability.

Do you see FUJIFILM’s GFX cameras as a viable cinema option? Will you opt for such a lens to accompany your GFX 100 II or future GFX ETERNA? Let us know in the comments.

Nowadays, we have a variety of probe-type macro lenses from different manufacturers from which to choose. Just a few months ago, for instance, DZOFILM announced its version of the probe lens. It was, however, Venus Optics that started the probe lens segment back in 2016 with the first-ever probe lens with a relatively large image circle. With these lenses, a whole new type of shot was made possible, and we see them used extensively on commercial shoots worldwide. Now, Venus Optics announces a new Laowa Probe Zoom lens series – let’s take a quick look at the details.

Laowa Probe Zoom Macro lens series

First off, the new Laowa Probe Zoom lens series shows a decent amount of flexibility – it comes in two versions differentiating in available focal range and maximum aperture:

• Laowa Probe Zoom 15-24mm T8
• Laowa Probe Zoom 15-35mm T12

Additionally, there are four interchangeable front modules:

• Direct view
• Periscope
• 35° View
• 90° View (designed with a user-friendly 360° rotation mechanism)

The choice of two rear tubes and four front modules results in a total of eight different configurations available.

According to Venus Optics, the new Laowa Probe Zoom lens series is currently the widest and largest range probe lens on the market. It features a 110.5° angle of view and up to a 2.3x zoom range for significant changes in magnification and perspective.

The 40cm-longest waterproof tubular design helps filmmakers to capture hard-to-reach subjects. The minimum focusing distance is 5mm (from the front element).

The default lens mount option is ARRI PL mount. Additionally, there are optional interchangeable mounts available – Sony E / Canon EF / Canon RF / Nikon Z / Leica L.

Price and availability

The new Laowa Probe Zoom Macro lenses will be available to ship by Q3 2025, according to Venus Optics. The price for the Probe Zoom Macro 15-24mm T8 – Direct View lens is $3,499, and the price for the 15-35mm T12 – Direct View version is $3,999.

The lens (among other selected Laowa products) will be on display at Venus Optics booth N2823 during the NAB 2025 show in the Las Vegas Convention Center. Make sure to go check it out if you are attending the show.

Have you used the previous version of the Laowa probe lens for your productions? What do you think about the new Laowa Probe Zoom Macro series lenses? Let us know your thoughts in the comments section underneath the article.

After expanding their wide-angle Vista Vision line, which you can read about here, Laowa has now released Shift Cine lenses for full-frame and Vista Vision cameras. Both lenses combine wide-angle coverage, perspective correction, and a large image circle in fully manual, geared cine housings.

What shift lenses do

Shift lenses allow the front optical block to move off-axis while keeping the camera stationary. This lets users correct converging vertical lines without tilting the camera body. It is particularly helpful when shooting tall buildings or tight interior spaces.

They’re also used in VFX workflows, where keeping the sensor parallel to the subject helps with match moves, composites, and clean geometry for post-production.

Laowa has published a video walkthrough highlighting the shift functionality and field of view expansion when used on large-format cameras:

Laowa 15mm and 20mm Zero-D Shift Cine – key features

• ±11mm shift range on full-frame sensors (±9mm for Vista Vision)
• Large Ø65.2mm image circle
• 130.4° shifted field of view (15mm) / 117° (20mm)
• Close focus: 20cm (15mm) / 25cm (20mm)
• Zero-D (Zero Distortion) optical design
• 14-blade aperture for smooth bokeh
• 0.8 mod geared rings for focus, aperture, and shift
• Fully manual operation
• Dual-scale focus markings
• Interchangeable PL mount with EF, RF, E, Z, and L-mount support
• Approx. weight: 1150g (15mm) / 1170g (20mm)

These lenses are designed for professionals who need full mechanical control, wide-angle performance, and perspective correction in high-resolution workflows.

Image circle and sensor compatibility

Each lens covers a Ø65.2mm image circle, providing more than enough coverage for full-frame and large-format cinema sensors. Supported formats include RED V-Raptor 8K VV (Ø46.31mm), ARRI Alexa 65 (Ø59.86mm), and Blackmagic URSA Cine 17K 65 (Ø65mm).

This makes the lenses a fit for productions using Open Gate, Vista Vision, and other wide-format digital cinema systems.

The optical formula in both lenses falls under Laowa’s “Zero-D” designation. That means the lenses are engineered to minimize distortion, delivering clean architectural lines straight out of the camera—even before shifting.

Close-focusing capabilities are also notable. The 15mm focuses down to 20cm, while the 20mm reaches 25cm, enabling detailed close-up work with a wide field of view. This adds flexibility for establishing shots, inserts, or tabletop setups where distortion control is still needed.

Shift Cine build and mount options

Focus, aperture, and shift rings are all equipped with standard 0.8 mod cine gears, ensuring compatibility with professional follow focus units and remote systems. The lenses are fully mechanical, with no electronics or autofocus components.

Both models ship in PL mount, but Laowa includes support for EF, RF, E, Z, and L via interchangeable mounts. This makes them adaptable to a range of camera systems, from cinema rigs to hybrid mirrorless setups.

Laowa’s Still photography shift lenses

Just as with most Laowa lenses, there are Stills versions of these lenses that (according to the specs) are nearly identical to the Cine versions.

• Laowa 15mm f/4.5R Zero-D Shift
• Laowa 20mm f/4 Zero-D Shift

These Stills lenses share a similar optical design but are housed in more compact bodies, designed for SLR and mirrorless use. They are available in Canon EF, Canon RF, Nikon F, Nikon Z, Sony E, Pentax K, and Leica L mounts.

Unlike the cine versions, they do not include geared rings or T-stop markings. Pricing is lower as well—approximately $1,199 for the 15mm and $1,399 for the 20mm—positioning them more for architectural photography or hybrid shooting.

Pricing and availability

The Laowa 15mm T4.8 Zero-D Shift Cine and Laowa 20mm T4.1 Zero-D Shift Cine lenses are available now for $1,999 each.

For more information about the Laowa 15mm and 20mm Zero-D Shift Cine lenses, please visit Laowa’s website.

Have experience with shift lenses or planning to try one on your next shoot? Let us know in the comments below.

Canon’s L-series VCM prime lenses have quickly established themselves as go-to tools for hybrid shooters due to their smooth autofocus performance, minimal focus breathing, and precise iris control. Last year, Canon expanded this lineup further, announcing four additional RF lenses that emphasized flexibility for hybrid workflows.

With NAB 2025 approaching, we expect Canon might have even more announcements on the way soon.

Canon RF 20mm F1.4L VCM –key features

• Full-Frame Format | f/1.4 to f/16
• Ultra-Wide Angle (94° Diagonal)
• Advanced Optics (2 Aspherical, 1 Super UD, 2 UD, 1 BR Element)
• Voice Coil Motor (VCM) Autofocus
• Clickless Iris Ring for Video
• Air Sphere (ASC), SWC, and Super Spectra Coatings
• Rounded 11-Blade Diaphragm
• 0.2m Minimum Focus Distance
• IBIS & OIS Compatibility (up to 8 stops stabilization with EOS R1)
• Weather-Sealed, Compact Design (519g, 67mm filter)

Optical Quality and Image Sharpness

The Canon RF 20mm F1.4L VCM provides filmmakers and photographers with an ultra-wide 94° diagonal field of view paired with excellent low-light performance. At f/1.4, creators can capture expansive scenes clearly, even in challenging lighting conditions. The lens’s optical construction, featuring two aspherical elements, two UD lenses, one Super UD lens, and one BR (Blue Spectrum Refractive) element, effectively controls chromatic aberration, distortion, and lens flare. Canon’s advanced ASC, SWC, and Super Spectra coatings further improve image contrast and clarity, especially in harsh lighting environments.

I’ve had the chance to review some early sample videos shot with this lens, and for video production, it looks spectacular—exactly what you’d expect from Canon’s premium L-series optics. Footage demonstrated excellent sharpness edge-to-edge, minimal-to-no visible vignetting even wide open, and remarkably smooth rack focus transitions.

The lens displayed essentially no noticeable focus breathing, a crucial detail for professional cinematographers. Beyond that, the color rendition felt natural and consistent, which should streamline post-production grading.

Autofocus tailored for filmmakers

Canon’s Voice Coil Motor (VCM) autofocus system offers filmmakers extremely fast, quiet, and accurate autofocus performance. Its minimal focus breathing allows precise and subtle rack-focus effects, ideal for narrative productions, documentaries, or interviews. Canon’s addition of a clickless iris ring gives filmmakers smooth, subtle aperture adjustments mid-shot without distracting exposure jumps.

Cinematic bokeh & creative control

The RF 20mm F1.4L VCM uses a rounded 11-blade diaphragm design, providing a natural, visually appealing bokeh. Backgrounds smoothly fade away, allowing filmmakers and photographers to isolate subjects creatively and artistically, adding depth and a cinematic character to their imagery.

Image stabilization and close focusing

When paired with Canon EOS R system cameras like the EOS R5 II, the lens achieves up to 8 stops of combined IBIS and OIS stabilization. This makes handheld video and photography achievable even at slow shutter speeds or during dynamic camera movements. Additionally, with a minimum focusing distance of just 0.2 meters and 0.19x magnification, it becomes possible to capture dramatic close-up shots with compelling wide-angle perspectives.

L-Series build quality

True to Canon’s L-series standard, the RF 20mm F1.4L VCM features professional-grade construction, weather sealing, and robust materials designed for rigorous professional use. Despite these rugged qualities, it remains compact and portable, weighing only 519g/1.14 lbs. Its 67mm filter thread and rear gel filter holder add practical functionality in the field.

Seamless integration within Canon’s RF Prime lineup

Canon’s RF 20mm F1.4L VCM maintains consistent size, filter diameter, color balance, and optical performance with other RF primes such as the 24mm and 35mm. This consistency allows rapid lens swaps on set without recalibrating equipment or adjusting workflows.

Pricing for the Canon RF 20mm F1.4L VCM lens is set at £1,919.99 / €2,189.99.

With this release, Canon continues their push to offer versatile, professional-quality lenses tailored specifically to hybrid video/photo creators. As NAB draws near, we’ll be closely following more developments from Canon.

For more information about the Canon RF 20mm F1.4L VCM lens, visit the official Canon website.

Does the RF 20mm F1.4L VCM fit your filmmaking or photography kit? Let us know your thoughts in the comments below.

The so-called probe lenses have gotten quite popular over the last few years and get a lot of use by DPs, especially for commercial projects and product showcases, as they offer a unique perspective and angles that would otherwise be impossible to film.

It all started back in 2016 when Venus Optics showed a prototype Laowa probe lens during the Photokina tradeshow. I remember this because our video interview from that show about the lens still remains the single most viewed video on the CineD YouTube channel for some reason. Fast forward to 2025, multiple manufacturers are offering these kinds of lenses. In fact, Venus Optics recently teased a new version of the Laowa probe lens. Among other companies that now offer probe lenses is DZOFILM. They introduced the new X-tract probe lens in January 2025, and today, they expanded the product with a 90° version. Let’s take a closer look at the new DZOFILM X-tract 90° probe lens.

DZOFILM X-tract 90 probe lens

DZOFILM X-tract is a macro zoom lens with an 18-28mm focal length and a constant aperture of T8. The lens’s image circle covers full-frame sensors, so it is, in fact, an ultra-wide lens. The X-tract comes with a PL mount (easily adaptable to any mirrorless camera via adapters).

The only difference to the DZOFILM X-tract lens announced in January is the addition of the 90° tip lens element, which opens up new possibilities for filming. The angled tip can be rotated 360° to accommodate different filming scenarios. The lens tip features a square front element with a PET silver-coated reflective layer.

DZOFILM claims the lens is parfocal, so the sharpness should remain consistent when zooming. It features the standard M0.8 gear pitch on focus, zoom, and aperture rings. The focus throw is 300°.

As this is a macro lens, the magnification ratio is 2.1x. The minimum focusing distance (from the front element) is 6mm.

Optically, the X-tract 90° lens incorporates 7 high-refractive index (HRI) and 6 extra-low dispersion (ED) glass elements to minimize chromatic aberration, distortion, and focus breathing. At 24mm, the lens reduces focus breathing to 0.5% (compared to 39.2% in other probe primes) and achieves a relative illumination of 68.6%, according to DZOFILM, reducing the need for post-production corrections.

When it comes to physical specs, the lens weighs 1132g (2.5 lbs) and is 421mm (16.6 in) long. The aluminum alloy body of the lens features rubber gaskets, so it is rated at IP57 (dustproof and waterproof design).

Pricing and availability

DZOFILM X-tract probe lens is available for pre-order now and the company says shipping will start from April 3, 2025. The lens will retail for $3,799 (around €3,499 in Europe). For more information, please see their website.

Do you use a probe lens for your productions? What do you think about the new DZOFILM X-tract zoom probe lens? Let us know your thoughts in the comments section underneath the article.

The number of new lenses being announced by specifically Chinese companies is staggering, and Venus Optics – which sells lenses under the Laowa brand – is one of them. They’ve built a strong reputation for their wide-angle lenses, and with this launch of four new cine lenses, they’re leaning into that strength once again.

Technical specifications of Laowa wide-angle 9mm, 10mm, 12mm, and 14mm cine lenses

The 9mm T5.8 claims the title of widest rectilinear full-frame lens in the cinematography market with a 134.8° angle of view, while the 10mm T2.9 is positioned as the widest rectilinear full-frame lens offering “Zero-Distortion” capability with a 130.3° angle of view.

All four lenses feature Vista Vision coverage with image circles of Ø46.31mm (9mm, 10mm, 12mm) and Ø46.5mm (14mm), making them compatible with larger-format cameras, including the Red Raptor 8K VV and Alexa LF Open Gate.

The lenses share several key characteristics:

• Compact and lightweight design (520-640g/1.15-1.41 lbs)
• Close focusing capabilities: 12cm for the 9mm and 10mm, 14cm for the 12mm, and 20cm for the 14mm
• Standard 0.8M gear mod
• Multiple mount options across various camera systems

The 10mm, 12mm, and 14mm models feature 77mm front filter threads, while the 9mm does not support front filters.

Zero-Distortion technology

Three of the four lenses (10mm, 12mm, and 14mm) incorporate Laowa’s “Zero-Distortion” design, which aims to eliminate the need for post-production correction when shooting architecture, interiors, or scenes with straight lines. That’s one of the reasons why their wide angles are so popular and also one of the reasons why I love to use them – having no distortion is a big deal.

12mm Lite version – a redesign

The newly introduced 12mm T2.9 Lite Zero-D VV Cine is a redesigned version of Laowa’s existing 12mm T2.9 Zero-D Cine. The Lite version offers improvements in chromatic aberration and sharpness, with a more compact and lightweight form factor (560g vs 675g). It features a closer minimum focusing distance of 14cm compared to 18cm on the original model.

However, users should note that the PL mount of the new 12mm T2.9 Lite protrudes further toward sensors, potentially limiting compatibility with certain cameras and filters.

Pricing and availability of the new Laowa wide-angle cine lenses

All four lenses are now available for pre-order. The 9mm T5.8, 12mm T2.9 Lite, and 14mm T2.6 are priced at $1,499 each, while the 10mm T2.9 is priced slightly higher at $1,699.

Laowa has also expanded their Nikon Z mount offerings across their entire cine lens lineup, making them compatible with RED camera Z mount options.

What do you think of Laowa’s new wide-angle lenses – is there one in particular that you’re interested in? Let us know in the comments below.