Schneider Digicon prime lens series for digital cinema cameras with fixed focal lengths 25–180mm, constant T1.4, optimized for telecentric sensors and 15-blade iris.
The Digicon series includes prime lenses from 25mm to 180mm with a consistent T1.4 aperture for standard focal lengths. The lenses feature a 15-blade iris for smooth bokeh characteristics and a standard PL mount. The close focus for most focal lengths is 0.6m, and the front diameter is uniformly 114mm for matte box compatibility. The focus and iris gears follow the 0.8mm pitch standard with 270° focus rotation. Weights vary between 2.1kg (25mm) and 4.8kg (180mm).
Available focal lengths: 25mm, 35mm, 50mm, 75mm, 100mm T1.4, as well as 135mm and 180mm T2.1. A Super Speed variant with T1.2 exists for 35mm, 50mm, and 75mm.
Schneider introduced the Digicon series in 2009 in response to the transition to digital cinematography. Unlike the Cine-Xenon lenses optimized for film, the Digicon design considers the specific requirements of digital sensors, particularly the telecentric light path to avoid vignetting. The Super Speed line followed in 2012, and a revised version with improved stray light suppression through Nano-Crystal coating was released in 2015.
The Digicon lenses were used in productions such as "The Grand Budapest Hotel" (2014) and several German "Tatort" episodes. Cinematographers appreciate the consistent imaging performance across all focal lengths and the precise mechanics for gimbal work. The workflow benefits from the uniform front diameters and consistent color rendition. Characteristic is the neutral, less stylized rendering – in contrast to the warmer Cine-Xenons or the high-contrast Zeiss Master Primes.
Compared to Zeiss Master Primes, Digicons offer softer skin tones with slightly less sharpness. Compared to Cooke S4/i, they lack the characteristic "Cooke Look" softness. As modern alternatives, Schneider Xenon FF Primes (2018) position themselves with a larger image circle for full-frame sensors and improved optical performance. For budget productions, the robust Cine-Xenons remain relevant, while high-end productions today tend to opt for Xenon FF or competing products like the ARRI Signature Primes.
Ich schätze an den Digicons besonders die mechanische Präzision und das neutrale Farbrendering, das mir maximale Flexibilität in der Postproduktion gibt. Die T1.4-Lichtstärke ist ausreichend für die meisten digitalen Kameras, und die einheitlichen Frontdurchmesser sparen Zeit beim Mattebox-Setup zwischen Brennweitenwechseln.
Die Digicons liefern mir einen sehr sauberen, modernen Look ohne starke optische Charakteristik – perfekt wenn ich die Bildsprache primär über Licht und Komposition steuern will. Für Stoffe, die einen spezifischen visuellen Stil brauchen, greife ich eher zu charakteristischeren Optiken wie Cookes oder vintage Zeiss.
Bei einem Digicon-Set kalkuliere ich mit etwa 80.000-120.000 Euro Mietkosten für eine 4-wöchige Drehzeit, deutlich günstiger als Master Primes oder Signature Primes. Die Verfügbarkeit ist gut, und die robusten Gehäuse reduzieren das Reparaturrisiko bei anspruchsvollen Drehs.
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