This article is the ultimate guide to the best cinema lens for Red Komodo.
Truly, choosing a cinema lens for Red Komodo is a significant choice — since this is a high-end camera. It can likewise be an overwhelming one, particularly if you’re new to the game.
If you’re not ready to read this long comparison guide, the best Cinema lens for your Komodo is MEKE 25mm T2.1 Cinema Lens, while a cheaper alternative is Meike MK-EFTR-B for Canon and Red Komodo (on Amazon).
- 50mm lens
- Long focal throw
- Ideal for landscape and portrait
The truth of the matter is that everybody has their taste, from focal length >> quality >> to a specific look.
While lens choice frequently comes from individual choice, you likewise need to adjust that against the requirements of the shooting.
For instance, you dislike shooting with long-range lenses, but there are times when having a long-range lens accessible can be fundamental to shooting.
Top 10 Best cinema lens for red komodo:
Fujifilm has taken its time from its release of very good quality Fujinon cine lenses for red komodo that are used worldwide to shoot films and reduce the weight, cost, and size to make them more reasonable for more modest cameras.
The MK50-135mm highlights a consistent and quick T/2.9 speed directly through the entire zoom reach and comes in the Sony E mount, Fujifilm X-mount, and MFT mounts, to fit Super35/APS-C estimated sensors as it were.
The 50-135mm is a standout entertainer and offers a valuable reach, equivalent to 75-202mm. There is extremely low mutilation and excellent optical performance directly across the entire picture through the zoom range.
- Specific optical entertainer
- Great worth contrasted with rivals
- Compatible with full-outline cameras
- Restricted mount choices
Canon appears to have each base covered similarly as cine lenses for red komodo go. From servo-controlled AF optics for camcorders to Sumire primes for a vintage look that is not accessible in Canon mount.
But the CN-E range is the standard cine prime reach that comes in EF mount for full-outline Canon DSLRs and cinema cameras. This 14mm lens is the largest cine prime you can purchase, with sharpness and flare control.
Dissimilar to others, the CN-E range which all have a 105mm front channel string, there’s none on the 14mm, so you need to use an outdoor matte box.
- Wide point
- Fits all full edge Canons
- Can fit to canon
- No Stabilizer
Branded as Rokinon in certain nations and Samyang in others, the Xeen 50mm T1.5 is worked as a full-outline cinema lens instead of a modified stills lens. It has interior concentrate so the lens doesn’t change size while focusing.
It might be at the spending end but is multi-covered for sharp, without flare pictures with consistent shading. The lens highlights double-sided focus and iris scales. The 11-bladed iris gives an adjusted aperture to smooth bokeh.
The 114mm front measurement takes into consideration fast lens changes when using a matte box and focus frill, while the focus ring is smooth and exact with the perfect measure of feel.
- Reasonable cine lens
- Full casing inclusion
- Greater than certain adversaries
- Not the most keen 50mm lens
Irix is hitting the cine market with this 150mm T3.0 1:1 Macro which depends on its effective photograph lens of a similar focal length (the Irix 150mm f/2.8 Macro 1:1 ).
Designed in Europe but made in Korea, the form is top quality and there is a smart attractively appended lens hood.
If you need to use a cinema-style matte box, the front of the lens is the standard 95mm size. It’s the focal length and 1:1 Macro ability that makes this lens stand out.
At 150mm on a full-outline camera, it’s medium telephoto on a Super35 cinema camera, it’s the best cinema lens for red komodo.
- Smooth focusing
- Genuine 1:1 full scale
- A notable cine brand
- No lightweight
Appropriate cine lenses for red komodo are altogether mechanical, with no auto-adjust, no picture adjustment, and no controlled zoom.
But Sony FE 24mm F2.8 G Full-Frame Ultra-Compact G Lens thinks outside the box as it has everything of those and is intended to work like an all-manual cine lens if you need it to.
It’s intended for the Super35-size sensor of Sony’s cinema cameras and APS-C mirrorless but can be used on A7 series mirrorless cameras.
The lens has a separate focus, zoom, and iris rings. And the focus has inherent cinema-standard designing for similarity. Zooming is either manual or by servo on a viable camera.
- It has AF and IS
- Fueled zoom
- Just for an E mount
- Not completely manual
With 8K shooting not too far off, Sigma’s FF High-Speed Prime lenses are prepared and fit for staying aware of the most recent high-resolution cameras.
This full-outline lens uses the optical plan of Sigma’s famous Art scope of DSLR lenses, rehomed in a constructed cinema-style body.
That remembers using electronic contacts for the mount of Canon and Sony fit variants to give lens information correspondence to the camera.
The nine-bladed iris produces smooth bokeh, there is a clickless iris, industry-standard stuff pitch, and a helping foot is incorporated into the water-safe metal lens body. And the Canon EF and Sony E mount variants can be converted from one to the next by a Sigma focus.
- Great optical quality
- Can change lens mounts
- Pricier than the Art rendition
7. Zeiss Compact Prime CP.3 19mm T/2.9
Zeiss set the filmmaking scene with the dazzling quality and smaller type of the Compact Prime CP.2 lenses over 10 years prior.
But the more current CP.3 optics go above and beyond, with similar optical quality but in a far more modest body with further developed mechanics and lens coatings.
The 18mm Compact Prime highlights an all-new optical plan over the CP.2 and is a further developed lens inside and out. One element handed down from the CP.2 lenses is the changeable mounts, allowing users to trade lens mounts for a different fit.
- Amazing quality
- Currently more reduced
- No Fujifilm X-mount
8. Veydra 25mm T2.2 Mini Prime
If you pick a Micro Four Thirds camera like an Olympus or Panasonic, you would prefer not to put an immense lens on the front, or probably everything’s out of equilibrium.
Spending brand Veydra acts the hero with its scope of MFT lenses like this Mini Prime 25mm T2.2 which is a standard focal length, equivalent to the field of view for a 50mm lens in full casing design.
The optics are sharp but can erupt when incited, which can be used for inventive impacts. Veydra lenses are worked to last, using all-metal and multi-covered components.
The lens is difficult to come by, but the surprisingly comparable Meike 25mm T2.2 is a decent and considerably more reasonable substitution.
- Smallest cine prime
- Standard stuff pitch
- Incorporates an MFT mount
- Difficult to come by, but Meike 25mm T2.2 is the same
9. Schneider-Kreuznach Xenon FF-Prime Cine-Tilt 50mm T2.1
This top-quality German-made lens allows you to change the plane of a focal point of your picture by shifting the lens plane by up to 4 degrees. Moderately normal in slant and shift lenses for stills cameras, it’s quick to bring slant technology to a reasonable cinema lens.
When used without slant, the lens has a similar optical quality as Schneider’s conventional Xenon full-outline primes, with essentially no focus and a bokeh intended to be suggestive of exemplary Hollywood style because of its 14-bladed iris.
It’s accessible as a component of a Cine-Tilt set containing focal lengths of 25mm, 35mm, 50mm, 75mm, and 100mm – all with T2.1 apertures.
- One of a kind in cinema lenses
- Unbelievable picture quality
- Incorporate Sony E mount
- Requires practice
10. SLR Magic Anamorphot CINE 352XMFT T2.4
For a genuine widescreen cinematic impact, nothing approaches the genuine 2.66:1 angle proportion of CinemaScope. For this, you need an anamorphic instead of an ordinary round lens, and these have been cosmically costly as of recently.
SLR Magic offers its Anamorphot CINE 352XMFT T2.4 lens which is a 35mm 2x anamorphic cine lens to fit MFT cameras. This lens allows you to shoot a picture with a more extensive perspective proportion than your sensor’s local viewpoint without editing the picture.
It’s reduced using in-camera programming or in-post preparing for the full widescreen look with a genuine 2.66:1 angle proportion.
- Anamorphic for individuals
- Can be simple to use
- Incorporated with MFT mount
- Not the most keen lens
Tips to Choose the Best cinema lens for red komodo
Add wide-angle and zooming lenses
While you can shoot a whole venture with simply your normal prime lens for red komodo , that isn’t regularly useful or alluring. You’ll need to assemble somewhere around a fundamental three-lens pack by adding a more extensive lens and a more extended zooming lens to oblige your ordinary lens.
A wide-point lens for red komodo helps interpreting distance between subjects, to underline and separate a person in the forefront from the world behind him, or to give a room/area a feeling of quality.
It can likewise be used to make some fascinating impacts with close-ups, for example, contorting an entertainer’s face, making a feeling of confusion, or to give the lens a presence, where the crowd feels the closeness of the lens to the entertainer.
Get your normal
“If you ask many directors and cinematographers what the regular and most commonly used lens for 35mm film is, they will get answers ranging from about 24mm to 50mm.”
If you had to pick just one prime lens for a red komodo to have in your unit, then, at that point it would be a “typical” lens.
A lens is considered normal when it produces pictures with a comparable point of view and viewpoint as human vision, hence bringing about a characteristic, consistent with life. More limited and longer focal lengths result in more extensive or smaller points of view, separately, while likewise twisting viewpoints.
So what focal length is considered typical? The appropriate response isn’t a direct one, as it is controlled by the size of the picture sensor, just as close to home taste.
On a full-outline 35mm-size sensor, a 50mm lens is frequently considered typical, but numerous shooters lean toward a more extensive focal length, for example, 35mm (such as a 40mm as my normal lens on the full casing).
Fill in the gaps and extremes
When you have your wide-point, normal, and zooming lenses choice, you can fill in the gaps between your focal lengths, just as the extremes. How about we take the three-lens Super 35 lens pack from a higher place (18mm, 32mm, and 75mm) as a beginning stage.
While the 32mm is the workhorse lens, there might be times when you need to get somewhat more extensive without going right to the 18mm or 75mm.
For this situation, you might need to add 25mm and 50mm to make a balanced five-lens unit: 18mm, 25mm, 32mm, 50mm, and 75mm.
You could fill in the gaps significantly further by adding, say, 21mm, 40mm, and 65mm lenses, but then you start to gather lenses of focal lengths that aren’t too different from one another. A few cinematographers like to have a huge choice accessible.
Particularly the individuals who like the inconspicuous differences between focal lengths, as 35mm and 40mm.
Others are more than content and favor working with a more modest and restricted lens bundle. You’ll need to gauge the pros and cons of having those extra focal lengths accessible.
Get quick lenses
When you understand what focal length you need, you’ll need to consider the speed of the lens. A “quick” lens has a wide most extreme aperture, which is estimated by a low f-stop number, for example, 2.0, 1.8, and 1.4.
So exactly how quickly do you have to go? I’d suggest going as quick as a possible bear.
There are two primary advantages of quicker lenses. The first, and maybe generally significant, is that the more extensive the aperture opening, the more prominent the measure of light that is passed through to the sensor.
This allows you to shoot in more faintly lit settings without expanding the ISO and possibly add picture clamor.
The second primary advantage of quick lenses is expanded control over your depth of field. As the aperture opening builds, the depth of field becomes shallower, allowing you to seclude your subject against an out-of-focus foundation.
A decent method to realize the specific lens types that you will require is to go over the content or storyboard and to observe specific lens necessities that will assist you with accomplishing the necessary shots.
You can likewise consult the cinematographers to examine his vision for the film and have a vastly improved thought regarding the types of cine lenses for red komodo that you’ll require for your specific undertaking.