August 25, 2014

Rokinon Is FINALLY Releasing a 50mm T/1.5 Cine Lens

Rokinon LensesFor the past few years, Rokinon lenses, which are manufactured in Korea by parent company Samyang, have been widely popular with the new generation of DSLR filmmakers, largely because of their affordability. The manufacturer then hit a home run when they began to introduce cine versions of their most popular primes, with de-clicked apertures and built-in focus gears. For anybody wanting a full set of their cine primes, however, there was one massive problem. There's a 24mm, a 35mm, and an 85mm -- all with a constant T/1.5 aperture -- but no 50mm to round out the set. For many people, myself included, this glaring omission prevented us from investing in a set of these lenses. Luckily, Rokinon has just announced that a 50mm T/1.5 will be officially introduced at Photokina 2014 in roughly three weeks, much to the delight of low budget filmmakers everywhere.

Although there aren't any official details yet, there are a few spec sheets for the new 50mm T/1.5 floating around on the web.

rokinon 50mm

Like the previous Rokinon cine primes, the 50mm T/1.5 will come in just about every mounting flavor you can imagine, including popular options like Canon EOS, Nikon, and Micro 4/3. The lens will be able to cover full frame sensors as well.

According to Rokinon's Facebook page, the 50mm lenses will arrive at dealers around September 15th -- it even looks like some have it available for pre-sale. And how much will it be selling for? Well, it looks like you can get your hands on it for $549.

We'll keep you updated as more information about the lens comes in.

Link: Samyang 50mm T1.5 (f1.4) just announced -- Cinema5D

Your Comment

40 Comments

This thing's going to sell like crazy.

August 25, 2014 at 1:07PM, Edited September 4, 11:56AM

8
Reply

FINALLY!!!! Nice.

August 25, 2014 at 1:46PM, Edited September 4, 11:56AM

5
Reply
Marcos

I really like the creamy color rendition Rokinon lenses.

I own the 8mm T3.1 Fisheye, 16mm T2.2, 24mm T1.5, 35mm T1.5 and 85mm T1.5

The 16, 35 and 85 all have fantastic sharpness.

The 8mm and 24mm aren't all that sharp at all, but I use them because they have the same "look" as the other lenses: The color rendition of the Cine lenses is very creamy looking and nice, which is the only reason I am selling Tokina 11-16mm and replacing it with the 10mm Rokinon.

August 25, 2014 at 1:47PM, Edited September 4, 11:56AM

0
Reply
Ian B

Egggggsssscellent...

August 25, 2014 at 2:01PM, Edited September 4, 11:56AM

4
Reply

Now I can start investing in these lenses. Also make note that you can buy a full set of rokinon cine primes in a kit. They package this 50 with the others, sell it for a discount and they will make a killing with starting filmmakers

August 25, 2014 at 2:06PM, Edited September 4, 11:56AM

1
Reply
Geoff C. Bassett

I've really enjoyed our 24. Only caveat it is that it's pretty soft and CA-crazy until around T2, and really isn't all the way there until 2.8. This isn't a huge deal, I just treat the lens as though it's a 2.8 instead of a 1.5. Are all of the Rokinons this way?

August 25, 2014 at 2:12PM, Edited September 4, 11:56AM

0
Reply

I never went below T2.0 on my 35mm. I'm pretty sure that's the case with the entire lens set.

August 25, 2014 at 2:28PM, Edited September 4, 11:56AM

4
Reply
Ben Corwin

Also, you should check this video out if you haven't yet.

https://www.youtube.com/watch?v=73rxg-yxTr4

August 25, 2014 at 2:37PM, Edited September 4, 11:56AM

0
Reply
Ben Corwin

The 85mm is razor sharp from 1.5 but has significant CA till ~2.5

August 25, 2014 at 3:05PM, Edited September 4, 11:56AM

10
Reply
Geoff C. Bassett

I cringe every time I see rokinons being used on set

August 25, 2014 at 2:47PM, Edited September 4, 11:56AM

0
Reply
john jeffries

Nobody cares, John.

August 25, 2014 at 4:36PM, Edited September 4, 11:56AM

0
Reply
Will

Took the words out of my mouth...

August 25, 2014 at 7:06PM, Edited September 4, 11:56AM

8
Reply
ocube

Haha :P

August 26, 2014 at 5:22AM, Edited September 4, 11:56AM

1
Reply
Gilles

What's ironic is that everyone cringes when John is on set.

August 28, 2014 at 7:12PM, Edited September 4, 11:56AM

0
Reply

Such misplaced snobbery.

August 25, 2014 at 9:30PM, Edited September 4, 11:56AM

0
Reply
ivan noel

Care to explain why you cringe? Apart from the fact that there's clearly a market for it (as you obviously see them on set from time to time), what is your gripe with these lenses?

Yes, they're cheap and no replacement for other, more expensive cine lenses, but there's a ton of people like me out there, who simply don't WANT to afford more and are more than happy with the quality they offer. Sure I can buy more expensive glass, but would that make my movies better? No. Not right now, I'm a loooong way from where the technical side is limiting me. And for that price, I have yet to find something that works as well. (Yeah I can buy old Nikon lenses, but I don't want to declick them myself, they're still expensive where I live and don't offer any warranty etc. etc.)

August 26, 2014 at 9:53AM, Edited September 4, 11:56AM

1
Reply
Peter

He's just upset that he still is working on sets where Rokinon lenses still are being used.

August 26, 2014 at 12:33PM, Edited September 4, 11:56AM

0
Reply
Caleb

LMAO! Cruel.

August 26, 2014 at 6:55PM, Edited September 4, 11:56AM

23
Reply

I'm sure that attitude helps you get a lot of work...

August 26, 2014 at 2:56PM, Edited September 4, 11:56AM

0
Reply
grantly0711

PL mount please

August 25, 2014 at 4:58PM, Edited September 4, 11:56AM

2
Reply
PL

Ohhh yes I'll totally agree with this .... The moment they put a PL mount on these all hell will break loose and ROKINON will have to build another factory

August 26, 2014 at 11:00PM, Edited September 4, 11:56AM

0
Reply
Nigel

Is there a filter adapter, aside from a Matte box, that will alow me to put circular filters on the 14mm?

August 25, 2014 at 5:02PM, Edited September 4, 11:56AM

8
Reply
vincegortho

"There’s a 24mm, a 35mm, and an 85mm — all with a CONSTANT T/1.5 aperture — but no 50mm to round out the set."

All prime lenses apertures are "constant".

August 25, 2014 at 7:21PM, Edited September 4, 11:56AM

3
Reply
FabDex

If we really want to be pedantic there are plenty of primes that don't have a constant aperture, I've used a variety of macro PL lenses that lose up to 2 stops as they close focus.

August 25, 2014 at 8:32PM, Edited September 4, 11:56AM

0
Reply
Jim

Technically, wouldn't all lenses lose at least a slight of amount of light as they focus closer? When I used to own a 4x5 view camera, I'd have to calculate bellows extension factors based on how far the lens board was from the film plane. (In fact, I was just talking about this with someone this week.) Granted, any light loss is minimal because the distance from the rear element to the focal plane is pretty close for most lenses.

August 28, 2014 at 7:17PM, Edited September 4, 11:56AM

4
Reply

You lack comprehension skills, don't you? God bless those you work with!

August 25, 2014 at 10:38PM, Edited September 4, 11:56AM

0
Reply
t.cal

Smart ass....

What he meant by constant is that the T1.5 is constant across the whole range of lenses. He meant as set not as individual lenses.

August 25, 2014 at 7:31PM, Edited September 4, 11:56AM

0
Reply
James H

Like how you explain what Jim was trying to articulate as if you knew what he was thinking... hmmm are you the same person. Changing your Name as if to be a random person having his back.

nice, I would have done the same thing.

August 26, 2014 at 3:58AM, Edited September 4, 11:56AM

0
Reply
james

Nope, very much a different person

August 27, 2014 at 12:34AM, Edited September 4, 11:56AM

0
Reply
James H.

I'm interested to see how it performs. The difference with this one is the canon 24mm 1.4, 35mm 1.4 and 85mm 1.8 were more quite a bit more expensive. This lens is priced above the 50mm 1.4 (with no autofocus) so I'm hoping it performs like a 50 1.2

August 25, 2014 at 11:38PM, Edited September 4, 11:56AM

0
Reply
Jacob

People hoping it's even faster than T1.5...who on Earth shoots at T1.3/F1.2?

August 26, 2014 at 8:53AM, Edited September 4, 11:56AM

0
Reply
Johnny

S16 format shooters needing to match the equivalent DOF of S35.

August 26, 2014 at 12:23PM, Edited September 4, 11:56AM

5
Reply
S16

I wouldn't be using a FF 50mm prime on S16mm...unless you like the FoV of 150mm (approx.)

August 26, 2014 at 1:11PM, Edited September 4, 11:56AM

12
Reply
Johnny

A 50mm in s16 is equvalent to a 104mm in s35
The crop factor is x2.1

http://www.abelcine.com/fov/

August 26, 2014 at 2:29PM, Edited September 4, 11:56AM

0
Reply
PL

Actually you're right. The 50mm would be a 137mm on s16. I forgot that it's a 50mm for 135 or full frame still cameras.

August 27, 2014 at 2:11AM, Edited September 4, 11:56AM

0
Reply
PL

I quite often recommend the Zeiss ZE set for anyone who's looking at Rokinon. Most guys who are one-man-bands actually find the electronic aperture helpful and that's much better glass.

I've done many side by sides and the ZE glass is much prettier, especially for skin tones.

August 26, 2014 at 10:58AM, Edited September 4, 11:56AM

0
Reply
Josh

I had some Samyang glass, but sold it. I now have a Zeiss ZF set and get amazingly beautiful images and color rendition, but much more expensive than Samyang. I guess you get what you pay for, and there is a big difference in aesthetic and mechanics. Zeiss color is amazing and so distinct looking.

Personally, I use the manual Nikon ZF because then your future proof yourself because it works on almost all cameras. ZE is good as well, but way more limited / more hassle on cameras because of the Electronic aperture.

August 26, 2014 at 6:53PM, Edited September 4, 11:56AM

6
Reply

Rokinons are great. I have the 16, 35 and 85 which are all very good but the 35 on the BMCC for interviews consistently receives rave reviews from clients about the quality. Adding the 50mm to the line will certainly fill a void.

August 26, 2014 at 11:43AM, Edited September 4, 11:56AM

3
Reply

FWIW, Sigma should be coming out with the new cine line too. For a filmmaker on a GH4 budget, a F1.8 12-35mm F-mount with Metabones Speedbooster often does the trick.

August 26, 2014 at 1:01PM, Edited September 4, 11:56AM

0
Reply
DLD

Only 45 degrees from tree feet's to infinity on the focus scale. No chance for the focus puller. Even the old Zeiss B-Speeds have 90 degrees.

August 27, 2014 at 12:48PM, Edited September 4, 11:56AM

0
Reply