Samyang lens series with fixed focal lengths 8–135mm, T1.5 aperture, and 0.8 gear ring for follow focus systems.
The Rokinon Cine series includes prime lenses ranging from 8mm to 135mm with a consistent T1.5 aperture for the standard focal lengths (14mm, 24mm, 35mm, 50mm, 85mm). The 8mm fisheye achieves T3.8, while the 135mm is at T2.2. All lenses feature a uniform 0.8 module gear ring, allowing standardized follow focus systems to be used without adapters. The optical construction is based on 13-16 lens elements in 10-12 groups, utilizing aspherical elements and ED (Extra-low Dispersion) glass to minimize aberrations. The minimum focusing distance varies between 0.25m (24mm) and 0.8m (135mm).
Samyang introduced the first video-optimized versions of their still photography lenses in 2011, following the popularization of DSLR filmmaking by cameras like the Canon 5D Mark II from 2008 onwards. In 2013, the dedicated Cine line was established with standardized housing dimensions and professional control elements. The second generation (Rokinon Cine DS) appeared in 2016 with improved multi-coating technology and reduced focus breathing. In 2019, the XEEN series followed as a premium line with carbon fiber housings and dual-scale markings for meters and feet.
Rokinon Cine lenses have established themselves in the independent film scene due to their price-performance ratio for productions with limited budgets. Documentary filmmakers appreciate the low weight of 600-900g per lens for handheld shots. The consistent color characteristics enable consistent looks when changing focal lengths without extensive color correction. The subtle bokeh character and moderate vignetting at wide apertures create an organic, less sterile look than comparable high-end cine lenses. They are typically used on cameras such as the RED Scarlet, Blackmagic Cinema Camera, or Sony FX series.
Compared to Zeiss CP.2 or Canon CN-E, Rokinon Cine lenses offer 80% of the optical performance at one-fifth of the cost, but with lower mechanical precision and less linear focus characteristics. The imaging performance surpasses adapted still photography lenses through optimized transmission and reduced distortion. Modern alternatives like DZOFilm Vespid Prime or 7Artisans Vision offer similar price points with improved manufacturing quality. For high-end productions, Cooke S4i or ARRI Signature Primes remain the standard, while Rokinon Cine bridges the gap between the consumer and professional segments.
Ich schätze die einheitlichen 77mm-Frontdurchmesser, die Mattebox-Wechsel zwischen Takes eliminieren. Der sanfte Focus-Fall und die T1.5-Lichtstärke geben mir auch bei Available Light genug Spielraum. Allerdings muss ich bei schnellen Focus Pulls aufpassen – die mechanische Dämpfung ist nicht so präzise wie bei Zeiss CP.2.
Die warme Farbcharakteristik der Rokinon-Objektive unterstützt emotionale Szenen ohne zusätzliche Diffusion. Bei Nahaufnahmen erzeugt das 85mm T1.5 eine schöne Trennung zwischen Darsteller und Hintergrund. Für intimate Character-Studien bevorzuge ich sie gegenüber den klinischeren deutschen Optiken.
Ein komplettes Set kostet 4.000 Euro statt 40.000 für vergleichbare Zeiss-Objektive – das ermöglicht eigene Sets statt teurer Rental-Pakete. Die Robustheit reicht für 60-Drehtage ohne Service, und der Wiederverkaufswert bleibt bei 60% des Neupreises stabil.
1. Zu welchem Department gehört „Rokinon Cine"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.