These are the best Panasonic cine lenses when you want cinema-ready control, minimal focus breathing, and consistent handling across bodies from compact Lumix G rigs to full-frame Lumix S productions. For Micro Four Thirds shooters, the Leica DG Vario-Summilux constant-aperture duo—10–25mm f/1.7 and 25–50mm f/1.7—functions like a matched two-zoom prime set: fast T-style speed across the range, beautiful Leica color, near-parfocal behavior with reliable repeatability, long throws for precise pulls, and a shared 77mm front that simplifies matte box builds; together they cover establishing wides through tight portraits without swapping primes, and their rendering stays creamy with clean edge acuity for 4K/6K delivery. Round out MFT with the Leica DG Nocticron 42.5mm f/1.2 for cinematic subject isolation and flattering roll-off, the Leica DG Summilux 12mm f/1.4 and Summilux 15mm f/1.7 for low-light street and gimbal work, and the weather-sealed Lumix G X 12–35mm f/2.8 II/III and 35–100mm f/2.8 II/III power-zooms for documentary speed; Panasonic’s micro-step aperture drive, quiet linear focus motors, and Dual I.S. compatibility keep AF and exposure transitions smooth on-camera, while linear MF response options help with follow-focus rigs. Full-frame Lumix S shooters get a purpose-built “cine prime” set in disguise: the Lumix S 24mm, 35mm, 50mm, and 85mm f/1.8 share nearly identical size, weight, ring placement, and 67mm fronts, making gimbal rebalancing and matte-box swaps trivial between focal lengths; they’re tuned for suppressed focus breathing, smooth aperture ramps, and clean, neutral color that grades easily, so interview A/B angles cut seamlessly. For fast mid-range zoom coverage, the Lumix S PRO 24–70mm f/2.8 brings crisp optics, consistent gearing position, and excellent breathing control for narrative and commercial sets, while the Lumix S PRO 70–200mm f/2.8 O.I.S. handles stage, sports, and compressed portraits with rock-solid stabilization that pairs with in-body IBIS for tripod-light telephoto shots. Lightweight travel and gimbal builds shine with the Lumix S 20–60mm f/3.5–5.6—a sleeper that starts at an unusually wide 20mm for cramped interiors and real estate walkthroughs—plus the compact Lumix S 24–105mm f/4 Macro O.I.S., whose close-focus “near-macro” lets you grab product and texture inserts without lens swaps. Across both mounts, Panasonic’s strengths for cine use include quiet, accurate AF you can actually trust for face/eye work, selectable linear manual-focus behavior for predictable pulls, micro-stepped iris for flicker-free ramps, consistent color science between Leica DG and Lumix S lines, and stabilization ecosystems (Dual I.S. on MFT, Body I.S. + O.I.S. on S) that deliver glide-like handheld footage with OM- or gimbal-level smoothness. Practical picks: build an MFT “two-zoom prime kit” with 10–25/1.7 + 25–50/1.7 and add Nocticron 42.5/1.2 for hero interviews; for run-and-gun, swap to 12–35/2.8 + 35–100/2.8 for compact coverage. On full frame, run the S f/1.8 prime quartet for matched rigs, use 24–70/2.8 as the A-cam workhorse, 70–200/2.8 for stage/tele compression, and 24–105/4 Macro for one-lens doc days. Whether you’re pulling focus on narrative, floating a gimbal through interiors, or capturing interviews in mixed light, the best Panasonic cine lenses combine controlled breathing, consistent mechanics, and polished rendering—so your footage looks cinematic straight from camera and your crew moves faster between setups.