Best Rokinon Cine Lenses in 2025

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These are the best Rokinon cine lenses when you want affordable, cinema-ready mechanics, unified color, and broad mount coverage for narrative, doc, commercial, and gimbal work—and here’s what to look for as you buy: prioritize consistent T-stops across a set (for exposure continuity), long and repeatable focus throws (≈150–200° on Cine DS/DSX, ≈200–300° on XEEN/XEEN CF) with 0.8-mod gears in the same positions for fast swaps, full-frame vs Super35/APS-C coverage to match your cameras, controlled breathing (XEEN lines are best), front diameter standardization (e.g., 95mm on XEEN/XEEN CF for clamp-on matte boxes), robust markings on both sides, declicked iris with half-stop markings, reliable back-focus and minimal sample variance, reasonable weight for your gimbal/rig, and—if you’re Sony E autofocus—video-native AF with tally support; also consider serviceability, mount options (EF, PL, E, MFT, RF/FX in some lines), and accessories like lens feet and focus/iris gears that play nicely with your follow focus. For cost-effective, ready-to-shoot sets, the Rokinon Cine DSX primes are the modern sweet spot: 14mm T3.1 (dramatic wides), 24/35/50/85mm T1.5 (core narrative trio plus portrait hero), and 135mm T2.2 (tele compression) share matched color, standardized gear positions, weather-resistant mount gaskets, and improved coatings over the older DS line—great for A-/B-cam consistency on EF/E/FX/MFT mounts. If you want lighter, unified bodies for run-and-gun Sony rigs with autofocus, the Samyang/Rokinon V-AF series (Sony E only) gives you 20/24/35/45/75mm T1.9 primes that all share size/weight, a tally lamp, and a clever accessory ecosystem (focus ring module, cine kit) so gimbal balance stays locked while you swap; they pull double duty for hybrid crews that need dependable AF and manual control with linear response. Stepping up to true cinema housings, the XEEN primes (PL/EF/E) form a classic full-frame set—14mm T3.1, 16mm T2.6 (S35), 24/35/50/85mm T1.5, 135mm T2.2—with 95mm fronts, long throws, buttery bokeh, and restrained breathing for narrative and commercial work; if you’re weight-sensitive on gimbals or travel jobs, the XEEN CF primes (carbon-fiber reinforced) keep the 95mm fronts and cine ergonomics while shaving grams, available in key focal lengths like 16/24/35/50/85 (and expanding over time). For Super35 shooters on tighter budgets, the APS-C/T cine primes (e.g., 16mm T2.2, 21mm T1.5, 35mm T1.3, 50mm T1.3) provide fast glass in smaller housings—great for compact rigs, interviews in tight spaces, and B-cam angles that still match DS/DSX color. Specialty anchors worth adding: the 24mm T1.5 and 35mm T1.5 DSX are your low-light workhorses; the 50mm T1.5 DSX is a natural interview lens; the 85mm T1.5 DSX is the portrait/compression king; and the 14mm T3.1 DSX handles interiors and establishing shots (mind the bulbous front for filters). Practical buyer tips: build around three focal lengths you’ll actually use (24–35–50 or 24–50–85) and add a wide/tele as jobs demand; if you operate on gimbals, keep a unified-front set (V-AF or XEEN/XEEN CF) to avoid rebalancing between takes; for doc/event work where AF helps, lean V-AF on Sony and keep a fast manual 35/50 T1.5 for controlled looks; for narrative commercials, Xeens minimize breathing and speed up matte-box swaps; standardize on 95mm or common screw-in sizes and carry one high-quality VND; test each focal length on your body for edge sharpness and back-focus before a paid day. Whether you’re lighting a dialogue scene at T1.5, flying a gimbal through a crowded venue, or stacking interviews across multiple bodies, the best Rokinon cine lenses combine budget-friendly speed, matched color, and true cine ergonomics—so your footage cuts cleanly, rigs stay nimble, and your set looks consistent from wide master to tight reaction.

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