Equip your Sony E mount cinema camera with a high-speed full-frame lens using this ZEISS Nano Prime 100mm T1.5 Cine Lens Sony E Feetfrom ZEISS. This wide-angle lens has an aperture range of T1.5 to T16 to achieve a wide depth of field. A 12-blade rounded iris provides a soft, natural bokeh. The focus ring rotates 280° and the iris ring 90° for intuitive adjustment. A 95mm front diameter and M86 filter thread allow you to incorporate different matte boxes or filters into your camera configuration. Markings on the lens are in feet for precise focus pulling. The lens mount is interchangeable to accommodate a wider range of camera bodies using separately available mounts.

Covers Full-Frame Sensors    T1.5 to T16 Aperture Range    12-Blade Rounded Iris    Native Lens Data Communication    ZEISS eXtended Data    95mm Front Diameter    3.3' Minimum Focus Distance    Lens Scale Marked in Feet

Electronic communication integrated into the lens transfers lens metadata like model, focusing distance, and aperture value to the camera body. ZEISS eXtended data technology enables focal length, focus position, iris setting, and depth of field calculation metadata transmission to a wide range of cameras and production equipment. All the lens data can be leveraged for accurate focus pulling when combined with a rangefinder or recorded alongside the video footage and applied in post-production.

• Maximum T1.5 aperture for deep depth of view and increased area of focus
• 12 aperture blades for smooth, circular bokeh
• 95mm front diameter; interchangeable lens mount
• 3.3' minimum focusing distance

The Nano Prime lenses cover a wide range of Sony E mount cameras, including the VENICE 1 or 2, BURANO, FX9, FX6, and FX3. This allows the lenses to be utilized for both your A-cam or B-cam configurations. Thanks to similar gearing and front diameters across the range of lenses, switching between focal lengths is a breeze.

Related Questions and Answers

Q: 1. Autofocus?

A: The ZEISS Nano Prime 24mm T1.5 Cine Lens (Sony E, Feet) provide eXtended lens data but have no autofocus.

Q: 2. I want to mount this lens on my PL-mount ZCAM camera and on my EF-mount Blackmagic 6K Pro. Which adapter ring is best?

A: There are two options that would allow you to mount a PL lens like the IRIX 45mm T1.5 Cine Lens to your Black Magic Pocket 6K Pro. The best option is from Wooden ( BH #WO274700) which would convert your P6K to a PL mount camera. Also there are PL to EF adapters ( BH #FOPCEAAP ) that could also be an option. Please note that the IRIX lens has not been tested with the FotodioX PL to EF adapter.

Q: 3. Can the tilt module be removed and the lens be used for other mounts like the normal ff series?

A: No, the tilt ring is not removable but can be locked.

Q: 4. Seems I saw close focus distance in this picture for 75mm is 2'6, but offical brochure said that is 38.6 , so which is true?

A: Definitely 2'6 as printed on lens

Q: 5. I have a Lumix S5, could I use this lens with the ef-mount version on my L-mount with the EF-L Fusion adapter? Could it work well?

A: YEs this lens will work on the Panasonic / Leica L series line of FF camera with an L mount to EF mount adapter

Q: 6. Can I use an EF mount IRIX cine lens with a Sigma EF to L mount or like adapter on the new Blackmagic FF cinema camera 6K?

A: Yes, using the Sigma MC-21 adapter, the IRIX 45mm T1.5 Cine Lens can work perfectly on the Blackmagic Design Cinema Camera 6K (Leica L).

Q: 7. Can the Xenon handle S35 Sensors at 8k?

A: Yes

Q: 8. where are these lenses manufactured?

A: Following unit is made in Germany.

Q: 9. Did Zeiss announce whether there will be an adapter for Canon RF Mount for these?

A: No, as of now, Zeiss has only announced the ZEISS Nano Prime 6-Lens Set (Sony E, Feet) in the Sony E-Mount.

Q: 10. How are these compared to the Rokinon Xeen?

A: Cine lenses such as the Schneider Xenon and Rokinon Xeen share the attributes that are so needed in prime lens sets for movie production. Principally these are consistent physical size and consistent image quality. Inconsistent size slows down production and inconsistent image quality slows down post-production with a possible affect of the viewing experience. What differentiates the two brands essentially is that the Xeens are good quality while the Xenons are even better. If the budget is limited, go with the Xeens confident that you will get good results. If the budget is more generous, go with the Xenons. What you will get is superb design, build and image quality that you can feel and see. The Xenons will last for years in hard, 18 hour a day movie production.