Chinese lens manufacturer renowned for extreme apertures (f/0.95, f/0.7). Manual focus optics for low-light cinematography at a fraction of premium brand costs.
Mitakon lenses are characterized by extreme apertures: the Creator 85mm f/1.2, the Speedmaster 50mm f/0.95, and the record-breaking Speedmaster 50mm f/0.7. The latter achieves an entrance aperture of T1.0 at a minimum focusing distance of 50cm. The construction is based on 9-12 lens elements in 7-9 groups with multi-layer nano-coating. Available mounts include Sony E, Canon EF/RF, Nikon F/Z, MFT, and Fujifilm X. Weight varies between 420g (35mm f/0.95) and 950g (135mm f/1.4).
Founded in 2013 by Zhongyi Optical Company, Mitakon initially established itself with Speedbooster adapters for mirrorless cameras. In 2015, the first native lens followed, the Creator 135mm f/1.4. The breakthrough came in 2017 with the Speedmaster 50mm f/0.95 for Sony E-mount. In 2019, Mitakon presented the f/0.7 lens as a direct response to the legendary Zeiss lenses from Stanley Kubrick's "Barry Lyndon." Since 2021, the company has increasingly focused on cinema versions with uniform housings and focus gears.
Mitakon lenses enable extreme available light filming at ISO 800-1600 without additional lighting. The f/0.95 and f/0.7 produce characteristic bokeh effects with strong subject isolation and circular out-of-focus highlights. Independent productions utilize these lenses for low-budget night scenes and intimate portraits. Manual focus requires precise follow-focus systems, as the depth of field at wide open aperture is less than 2cm. Typical workflows include focus peaking and 4x magnification on the monitor.
Compared to Zeiss, Leica, or Canon, Mitakon offers similar apertures at a tenth of the price – the f/0.95 costs approximately 800 Euros versus 4000+ Euros for competing products. The optical quality reaches a professional level at apertures of 2.8-4.0, but exhibits significant aberrations and vignetting at wide open. Sigma Art, Tamron G2, or Viltrox Pro offer better sharpness performance but do not achieve the extreme apertures. For controlled studio conditions, established manufacturers remain the better choice.
Ich setze Mitakon-Objektive gezielt für extremes Low-Light ein, wo selbst f/1.4 nicht ausreicht – das f/0.95 rettet mir Szenen bei Kerzenlicht ohne Grain. Der weiche Look bei Offenblende kann störend sein, aber ab f/2.0 wird die Schärfe sehr brauchbar. Für den Preis bekomme ich Looks, die sonst nur mit Vintage-Glas oder teuren Zeiss-Objektiven möglich wären.
Das extreme Bokeh der Mitakon-Objektive isoliert Charaktere fast malerisch vom Hintergrund – perfekt für emotionale Nahaufnahmen oder Traumsequenzen. Die weiche Zeichnung bei Offenblende verleiht digitalen Bildern eine organische, fast filmische Anmutung. Allerdings muss ich bei der Shot-Planung die geringe Schärfentiefe berücksichtigen.
Mitakon-Objektive bieten mir Profi-Looks zu Prosumer-Preisen – ein komplettes Set kostet weniger als ein einzelnes Zeiss-Objektiv. Die manuelle Bedienung verlangsamt zwar den Dreh, aber bei Low-Budget-Produktionen rechtfertigt die Kostenersparnis den Mehraufwand. Wichtig ist ein erfahrener Focus-Puller, sonst werden die Takes unbrauchbar.
1. Zu welchem Department gehört „Mitakon Zhongyi"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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