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To answer the last question, there are virtually no alternatives at the $4-5K range. You may find some Lomo's and B Speeds, but most of the old super speeds and standard speeds are now more, especially if they still in good working condition. The Rokinon's are not nearly in the same league mechanically or optically ( exempt for maybe the 35mm optically to some extend).



Check this review video out which was done by Picture Line:

Canon Cine Prime Lens Kit Comparison  


Canuck Camera Corp carries a full kit of Canon Cine Prime Lenses. 

Read this very useful comparison between Canon Cine lenses and CP.2 Series by Clayton B.


The Canon Lenses are sharper, but have less contrast. The aperture ring has the settings too close each other and

can be bumped very easily.T  he electronic info is useful, but also subject to disconnect. 


The Zeiss T1.5's are not topnotch. Perhaps sharp in the centre but at the very least soft in the corners. 

The 35/1.4 is the best of three. The 50/1.4 is as awful as it has always been. 

everything need to be stopped down at least a stop, with the 50mm even more. 


Both lens sets exhibit significant CA and breathing, by comparison with more expensive cinema lenses. 

Both lens sets are absurdly large, mostly to accommodate very good witness marks. 

Both lens sets are very light and this is very attractive and useful. 

Both lens sets can go far beyond 4k because they are rehoused still lenses. 


When I say not topnotch, I mean that the Zeiss do not maintain their sharpness across the whole visual field at wide open, they exhibit significant fringing, CA and are not really an advance from the CP.1's which were originally deemed so poor by Zeiss at wide open that they were blocked by Zeiss at T2.1 for the CP.2 generation. Curiously, they discovered that people wanted a little bit of softness sometimes for skin and also that the speed was necessary for many folks who didn't have large lighting budgets, exactly the same people who represented their clientele for theses lenses. The different being that they are now charging $700- $1000 more to unblock them and give you exactly what they had before! CA great marketing lesson in how to create demand for an inferior product)  


However, these are not super speeds, as in those lovely old forerunners to master primes. The mark III generation of those old lenses is much sharper wide open than these, which gibes you an idea of where things are really ay ( with the possible exemption of th e35mm/1.4 version of CP.2 which is about on par). What the new CP.2's have is more contrast die to the updated T* coatings. This may sometimes give the false impression of sharpness.


Zeiss has recognized that they needed to do something about fast glass as we approach a new generation of digital capture with bigger sensor counts. Thus a new generation is approaching with their Distagon design of the 55mm F1.4 lens which will be out soon. What remains to be seen is how long it will take to tickle up into the CP.2 line, or if indeed that will ever happen. 


Look at the stickied Salt III tests below to see how they compare to more expensive Cine glass. It might be worth pointing out again that aside from questions of breathing, at T2.8 almost all of these lens sets performed very similarity and let's be honest, how often do we really shoot fully wide open pulling focus on the talent?