[4.7x] I've had this lens for a little over one year now and it's basically lived on my Sony FX9 and FX6 since the moment it arrived to my door. The Zeiss CP.3 35mm lens is the perfect size and weight to fit in my backpack for when I need to pack light but packs the same punch as any top of the line cinema lens.


The optics on this lens are just outstanding. Beautiful color renditions matched with a tack sharp image really help get any job done.


I couldn't recommend this lens, or any of the other CP.3 lenses, more. It will definitely always have its place in my kit.

[21 to 100mm] I got these as an upgrade to the Rokinon lens set I had, and they are crisp and look fantastic! I also plan to use them on a Movi type rig, and the light weight is what sold me on these over the competing Sigma and other brands.
I am keeping the Rokinons for when a client prefers the super soft mushy background look, the overall softness of those lenses will work for those folks.
But when I want a crisp clean image with a reasonable fast lens, I'll be using these. I

[Super35/APS-C] One of the best lenses in my kit along with my Zeiss Otus 55mm and my Zeiss Otus 28mm lenses.

[21 to 100mm] This lens is awesome, and produces clean images with real cinematic effects. I have the complete Venus T2.9 set (35mm, 50mm, 75mm, 100mm, 135mm, 150mm plus the 1.25 adapter that produces a 2x squeeze when paired with the 1.6x anamorphic squeeze of the lenses). The lenses produce uniform colors all throughout the set, and images are sharp wide open at T2.9. Somehow SIRUI has managed to make these primes sharp wide open, but not too sharp, given you that movie like look without any diffusion filters on the front of your lens. If you haven't tried the anamorphic look, you have no idea what your projects are missing. As result of purchasing this set, my G Masters and spherical Cine primes are collecting dust. The SIRUI 1.6x T 2.9 Venus Anamorphic lenses are a great set of glass.

[4.7x] I love this lens, it is tac sharp, gorgeous and the best 100mm you can find for a full frame 35mm camera. I love the Otus line and have no real complaints.


Something to consider however, is the size and weight of this lens. I personally don't like using this lens handheld. First off, I usually shoot locked down, so that's my go-to anyway. But secondly, the weight of this lens combined with it being manual focus makes hand-held shooting a little clumsy in my opinion. But if you're going to be on a tripod or camera stand, this lens is truly a great choice. If you want something a bit lighter and are willing to sacrifice a tiny bit of speed, I also HIGHLY recommend the Zeiss Milvus 100mm F2 macro. The quality is fairly close to the Otus line, but much smaller and with a more approachable price point.

[21 to 100mm] These lenses were a dream of ours to own, quite expensive but after having them for a few weeks......wow. We really want to go back and re shoot everything cool we have ever done! The look they have is absolutely awesome......so happy with them. Super easy to work with...and the quality is second to none.

[Nikon F] I've used this lens on a variety of shoots, and it's incredible. Very lightweight. Relatively low profile. Very smooth focusing with zero breathing. Some people have bashed it for being a T2.9. If there's a person in the world who can run-and-gun a doc shoot at T1.4 without a focus puller, AC, etc., then I want to meet that person post-haste and get some tips. For the rest of us mortals, T2.9 will do just fine. Especially if you're filming with an Fs5 or 7, which are already great in low light as it is. I always love the question in Q&A's, How did you make it so both people are in focus at the same time. Try stopping down to 4.5 or 5.6. That's where this lens gets awesomely sharp, and pulling focus is a total breeze as a one-man-band.

It's not for everyone. It's definitely a lower-contrast lens, a look that I happen to like, but looks different than Zeiss CP glass (or the 21-100 Zeiss zoom). The bokeh is beautiful on the MK. Even though having to change lenses (and buy the other) is a bit inconvenient, they're par focal, which makes things easier, and they're extremely light-weight, but seem to have good build quality. I rented, didn't purchase, so it's hard for me to comment on long-term durability. For what I do, higher-end documentary features and shorts, this lens is perfect.

[Super35/APS-C] AWESOME. AMAZING. THANK YOU FUJINON. THATS IT. NO NEGATIVE COMMENTS HERE. BEST MONEY I HAVE SPENT ON MY KIT SO FAR.

[Nikon F] ridiculously sharp, at f1.4
portraits are amazing

[f/22] I'm a life long photographer, but I'm new to video. In the world of photography I was a firm believer in only using the best primes - Zeiss and Schneider. There's no way I'd ever consider a zoom. Having just purchased a RED Komodo, I wasn't in a place to buy a full set of cine primes. After months of agonizing over my options, I purchased this lens and the matching 18-55.
Wanting to get a feel for the quality differences, I tested all my still-primes against the pair of FUJIs. I used a Zeiss back-focus target and tested all the lenses at f5.6 under controlled lighting. I exported frames from Premier Pro after applying a standard DCI LUT.


I'm not an expert at optics and I'm still trying to get my head around R3D (RED's raw format) and LUTs, so all I can give is my subjective opinion, which is ...
Shockingly, the FUJI zooms looked as good as or better than the primes! It seems to me that the 50-135 did just a little bit better than the 18-55, but it really comes down to splitting hairs.


While I could still use by photo-primes (because I'm old-school like that), the zooms give me (obviously) more flexibility. These cine-lenses have a number of other advantages over my ZEs and Schneider PC/TS lenses:


No focus breathing. Some of my primes have a noticeable shift in focal length when when changing focus.
Then lens bodies don't move when zooming or focusing. There's no way to use a follow focus on my ZE 135 Sonnar, for example.
Marking are on the side of the lens not the top, which makes follow focus much easier.


In addition, the FUJI lenses are parfocal, which is super nice. Plus they have a facility for Macro that I haven't yet explored. Because these lenses are native RF (thanks to the smart folks at Duclos), you don't even need an adapter!