These are the best Zeiss cine lenses when you want consistent color, ultra-low breathing, long buttery focus throws, and bulletproof mechanics for narrative, commercial, doc, music promos, and high-end events—and here’s what to look for as you buy: prioritize matched sets with uniform gear positions and front diameters, accurate T-stop transmission (T1.3–T2.9 classes), wide image circles for full-frame/VV, and lens data support (Cooke /i, ZEISS eXtended Data) when you want distortion/vignetting metadata baked into the pipeline; choose fast primes for drama and night exteriors, parfocal zooms for coverage, and Radiance/“flare” variants when you want controlled character; keep weights similar for quick gimbal swaps and run a single-diameter matte box where possible. Full-frame/VV prime heroes: Supreme Prime T1.5 set (wide 15–200 mm range across the family) with large image circle, gentle falloff, minimal breathing, and 95/114 mm fronts—modern, neutral, skin-friendly look that grades easily; Supreme Prime Radiance T1.5 versions add uniquely tuned, repeatable blue-leaning flare while keeping Supreme mechanics and sharpness for stylized night work. S35/FF classics that still rule sets: Master Prime T1.3 (ARRI/Zeiss) with near-zero breathing and “perfect-but-creamy” rendering for A-cam drama, and Ultra Prime T1.9 (lighter, vast focal spread) for projects that want crisp, neutral color without the weight of Masters. Compact, budget-flex prime line: CP.3 and CP.3 XD (most at T2.1) bring 95 mm fronts, clean breathing control, and—on XD—the eXtended Data stream for real-time distortion/vignette info: ideal for virtual production, VFX, and lean crews that still need pro mechanics. Cine zoom workhorses: CZ.2 Compact Zooms—15–30 T2.9, 28–80 T2.9, 70–200 T2.9—cover full-frame, are truly parfocal with consistent color and low breathing, and share 95/114 mm fronts; the LWZ.3 21–100 T2.9–3.9 (S35) is a lightweight “run-all-day” documentary/ENG darling with a surprisingly cinematic look and great close focus. Hybrid option when you’re cine-modding stills glass: Otus/Milvus primes with de-clicked apertures and 0.8 mod gears deliver Zeiss micro-contrast and color at lower weight—great for gimbals and crash cams while keeping the Zeiss look. Practical buyer tips: build a two-zoom + three-prime spine for most shows (CZ.2 15–30 + 28–80 for wides/mids, add a 70–200 for reach; primes: Supreme 35/50/85 or CP.3 25/35/50), or run a pure-prime set (Radiance 25/35/50/85/135) for stylized flare control; standardize to one matte-box size (95→114/136 via donuts), carry 4×5.65 NDs and a mild diffusion (⅛–¼) for skin, and confirm image-circle coverage for open-gate modes; test breathing and flare at your common stops, and record eXtended Data when VFX or VP are in the mix. Cine-shooting tips: rate exposure by T-stop and lock a 180° shutter, mark common actor distances and use the long throws for precise racks, keep moves measured to show parfocal zooms at their best, avoid stacking filters that invite ghosts, and shade the front for LED/point-light discipline; for gimbals, favor the lighter CP.3s or shorter Supremes and match lens weights to minimize rebalances; whether you’re crafting moody night dialogue, glossy beauty, fast doc walk-and-talks, or VFX-heavy commercials, the best Zeiss cine choices—Supreme/Supreme Radiance, Master/Ultra Primes, CP.3(XD), and CZ.2/LWZ.3 zooms—combine trustworthy color, controlled breathing, and rock-solid mechanics—so your focus pulls hit, your flares feel intentional, and your footage looks cinematic straight off the timeline.