These are the best Rokinon prime lenses when you want fast apertures, big value, and sets that scale from casual stills to serious cine—across full-frame, APS-C, and Micro Four Thirds—and here’s what to look for as you buy: decide AF vs manual (Sony shooters get excellent AF options; manual primes give longer, smoother throws), match sensor coverage (FF vs APS-C/MFT), favor fast glass (ƒ1.2–ƒ1.8/T1.5) for low light and separation, check focus breathing if you shoot video, aim for consistent color/contrast across your set, unify front diameters for easier ND use, confirm close-focus specs for product/food inserts, and if you want cine mechanics pick declicked, 0.8-mod geared versions with matched gear positions; pair primes with your body’s strengths (IBIS, focus peaking, MF assist) and keep weight in mind for gimbals. For Sony full frame, the AF lineup is a killer value: AF 24mm ƒ1.8 FE (astro focus mode, tiny travel wide), AF 35mm ƒ1.8 FE (everyday/storytelling workhorse), AF 35mm ƒ1.4 II (flagship sharpness with reliable AF), AF 50mm ƒ1.4 II (modern rendering and fast drive), AF 75mm ƒ1.8 (featherweight head-and-shoulders), AF 85mm ƒ1.4 (portrait classic, sealed), AF 135mm ƒ1.8 (stellar compression, fast AF)—a mix that covers vlogs to editorial with consistent color and compact builds. Budget manual-focus classics that punch way above price include the 14mm ƒ2.8 (sweeping landscapes/interiors; also in Cine T3.1), 20mm ƒ1.8 (sleeper for astro/blue hour), 24/35/50/85mm ƒ1.4 (the “DSX core” in stills form, cinematic look with long throws), the 100mm ƒ2.8 Macro 1:1 (sharp, flat field for detail), and the cult-favorite 135mm ƒ2 (razor sharp with luscious bokeh); most have Cine DS/DSX twins—24/35/50/85 T1.5 and 135 T2.2—with matched gears and declicked irises for narrative and interviews. If you want true cinema housings with restrained breathing and 95mm fronts, step up to XEEN/XEEN CF primes (14 T3.1, 16 T2.6, 24/35/50/85 T1.5, 135 T2.2; EF/PL/E): long, repeatable throws, big markings, and lighter CF shells for gimbals while keeping the cine ergonomics pros expect. APS-C and MFT shooters get gems in the 12mm ƒ2 (E/X/MFT—tiny, filter-threaded, great for astro and travel), 16mm ƒ2 (DSLR APS-C; fast, contrasty), and compact city primes like the 24mm ƒ2.8 and 35mm ƒ2.8 (FE) for featherweight kits; many have Cine T2.2 counterparts with the same optical look. Practical buyer tips: build around a three-prime spine you’ll actually use (24–35–85 or 24–50–85; add 135 for compression or 12/14/20 for wides), choose AF for fast-moving work and manual/cine for repeatable focus pulls, standardize filter sizes where you can, budget for a 100mm holder if you choose bulbous wides, and keep a true macro (100/2.8 or T3.1) in the bag for detail shots that client edits always need. Shooting tips: for portraits start near wide open and back your subject off the background for bigger, smoother bokeh; for night/astro with 20/1.8 or 24/1.8, focus via magnification and consider stopping 1/3–2/3 stop for cleaner corners; for video, pre-mark distances, use a good VND to hold shutter at T1.5–T2.8, and test breathing before critical racks; for travel, pair a tiny wide (18/2.8 or 24/2.8 FE) with a fast normal (35/1.8 or 50/1.4) to keep the kit light. Whether you’re shooting narrative on a follow-focus, handheld street at blue hour, or product detail between interviews, the best Rokinon prime lenses combine fast, characterful optics with either confident AF or cine-grade mechanics—so your footage cuts cleanly, your stills look polished, and your kit stays affordable and nimble.