These are the best cine lenses for macro photography when you want true-to-life color, razor micro-contrast, repeatable long-throw focus, controlled breathing, and workable lighting space for insects, jewelry, product, food, and tabletop motion—and here’s what to look for as you buy: prioritize at least 1:1 magnification (go 2× when needed), generous working distance (90–110 mm class for lights/flags), flat fields with low LoCA so speculars don’t fringe, accurate T-stop transmission, uniform 0.8 mod gears and shared fronts (95/114 mm) for one matte box, and—if you’re mixing with non-macro glass—matched color; probe/ultra-macro tools should have slim barrels, internal focus, and durable weathering around the tip for wet or powdery sets. Full-frame/VV cine macro heroes: ARRI/Zeiss Master Macro 100mm T2.0 (1:1, near-zero breathing, reference sharpness for beauty/product), Cooke Macro/i 65mm • 100mm • 180mm (1:1 set—classic warm skin with modern control), Tokina Cinema 100mm T2.9 Macro (1:1, velvety rendering, robust close-focus mechanics), ZEISS Compact Prime 100mm T2.1 Makro (long throw, clean color, 95 mm front), DZOFilm Gnosis 24/32/65/90/135 T2.8 (close-range monsters with interchangeable mounts and outstanding working mechanics), and Canon CN-E 100mm T2.8 L Macro IS (cine-style housing, 1:1, stabilization for handheld inserts). Budget/value macro primes that integrate well: DZOFilm Vespid Macro 90mm T2.8 1:1 (FF), Laowa 100mm T2.9 2× Ultra Macro (FF, 2:1 reach with pleasing contrast), and Meike 85mm T2.8 1:1 (APS-C/FF mounts—cost-effective with real cine gears). Specialty close-up tools: Laowa 24mm Probe/PeriProbe (T8–T14, 2×)—signature CFWA look that swims through scenes with edge-to-edge depth; Laowa 25mm 2.5–5× Cine (super-macro for textures/PCB/hair—plan rails and lots of light); add high-quality +1/+2 diopters (Micro/MacroLux) to non-macro cine primes for quick 0.5–1:1 moves without changing lens signatures. Practical buyer tips: build a two-lens spine (a 90–110 mm 1:1 for beauty/product + a 24–32 mm probe/ultra-macro for CFWA or 2–5× detail) and add a mid-macro (65–70 mm) when space is tight; standardize fronts (95/114 mm) so one matte box, VND, and diffusion (⅛–¼) ride all lenses; keep a slim rail and macro slider for fore–aft focus, carry cross-polarizing kit (linear gels on lights + CPL or RotaPola in the box) for jewelry/metal, and stock a set of flags/black cards to sculpt edges; test breathing and focus scale accuracy at your working distances, and color-check to match your main prime set. Macro-shooting tips: rate exposure by T and lock a 180° shutter, use short-duration light (strobes/LED bursts) to freeze motion on tiny subjects, and stabilize the table—IBIS off on sticks; work around T5.6–T11 for product to balance depth vs diffraction (stack stills when needed), for handheld food/beauty run T2.8–T4 with selective focus and ride ISO; cross-polarize to kill glare on metals/glass then rotate back slightly to keep sparkle, place lights low and raking for texture, and keep backgrounds distant for creamy fields; for probe work, get inches from subject, pre-light the barrel to avoid self-shadowing, and move slowly—micro-wobbles read huge; use rails for controlled racks, avoid stacking filters that invite ghosts, and keep front elements immaculate; whether you’re revealing diamond fire, pouring syrup in luscious slow motion, mapping circuit traces at 3×, or threading a lens through flowers for cinematic CFWA, the best cine macro choices—1:1 tele macros plus a probe/ultra-macro tool—deliver magnification, working distance, and cine-grade mechanics so your focus hits, your speculars stay clean, and your close-ups feel tactile and irresistibly detailed.