The Rokinon (or Samyang) 50mm T1.5 cine lens is part of Rokinon’s cinema lens series for the budget-minded cinematographer. Featuring a de-clicked aperture ring, and gears on the aperture and focus rings, the Rokinon cine lenses are ideal for film and video.
This lens has an EF mount and 77mm front filter threads. It close-focuses to 18 inches.
The Zeiss CP.2 50mm T1.5 Super Speed lens with EF mount is an excellent all-purpose lens, and reads as a “normal” focal length on full frame or Vista Vision sensors like the Canon 5D mark III. Zeiss CP.2s have become a standard for film and television productions. The Compact Prime family offer full-frame coverage for DSLRs and speedboosters, and are equally at home on cinema cameras with EF mounts and DSLRs.
The fourteen-blade iris makes for near-perfect bokeh and Zeiss’ T* coating reduces reflections and flare. Zeiss CP.2s are fully manual, and barrel sizes are matched for easy lens changes, even behind a mattebox and follow focus. All our CP2 lenses have imperial markings (in feet).
Our Zeiss CP2 lenses can be reserved and rented as a kit. We don’t accept advance reservations for individual lenses, but you can pick them up same-day with an appointment.
We recently added the Canon 50mm f/2.5 Macro prime lens to our rental inventory. Naturally, the first thing we did was take a picture of Kyle’s eyeball. The second thing? We compared it to the Canon f/1.4 50mm prime lens. We wanted to know if it was safe to leave our 50mm f/1.4 behind when we have enough available light and the Canon macro lens in our bag. And since the price difference isn’t huge, we think a comparison of these two lenses isn’t completely out of order. Here’s some of the obvious and not-so-obvious pros and cons of each lens:
1) Up close, the 50mm macro is fantastic. The 50mm f/1.4 is great for people, but if you want a closeup on a baby or pet, or are shooting anything smaller than about 9″ across, you’re really limited without the macro option. The 50mm f/2.5 at close focus distance is 1:1, perfect for coins and jewelry. On a crop-factor camera, you’ll have even more apparent close-up power.
2) The 50mm f/1.4 is a much better available-light lens. 1 2/3 stops more speed makes a big difference in the dark. On a crop-factor camera, f/2.5 is “good enough” for portrait work, but being able to go into f/2 or beyond gives you more versatility as a portrait lens.
3) For everyday shots, the 50mm f/1.4 obviously, clearly, blatantly outperforms the f/2.5 macro.
Sample shot from the Canon 50mm f/2.5 macro at f/2.8. Click to enlarge.
We tested both lenses with a Canon 5DmkIII body on a tripod at f/2.8, and focused on an object at the end of a hallway. We brought RAW images into photoshop with identical settings and saved them as high-quality JPEGs.
The biggest differentiator is sharpness. Looking at the 1:1 comparison crops, the 50mm f/1.4 is much sharper. Even in our video tests (2MP resolution), you can see a slight difference in sharpness between both lenses. Note, in both images you can see artifacts from digital sharpening, but it’s the same amount for both shots.
The f/1.4 performs better in other areas, too. In our tests, vignetting was much less noticeable on the f/1.4. It has two fewer elements, which means that even at the same apertures, it lets in a bit more light. Our guess is about 1/6th of a stop at the center and almost a full stop in the corners at f/2.8.
Sample shot from the Canon 50mm f/1.4 at f/2.8. Click to enlarge.
The only place where the 50mm macro might be said to have an edge in our sample shots is in geometric distortion. When putting the shots over each other, you can see a slight barrel distortion in the 50mm f/1.4. The additional glass in the macro may be helping to square up the optics, making it slightly more rectilinear. This makes the macro seem the tiniest bit wider, at least in the corners.
In our high-contrast scene, both lenses seemed to perform reasonably well, without much ghosting or fringing, and a small amount of chromatic aberration.
For video shooters, both lenses seem to breathe about equally. Our opinion was the breathing was pretty natural, and certainly acceptable for a sub-$1000 lens.
One-to-one crops for pixel peeping
The upshot? It looks like we’ll be taking both 50mm lenses along on our shoots. The macro features are too awesome to leave at home, but the better optics of the f/1.4 make it a much better choice on almost anything more than 18 inches away. Want to make the comparison for yourself? You can rent all our 50mm lenses for your own tests!
Get up close and personal with the Canon EF 50mm f/2.5 macro lens. 1:1 magnification makes it a great option for shooting small things, from babies to bumblebees. It’s quite popular with wedding shooters who need to get detail shots of flowers and rings, and a great addition to any lens kit when you know you’ll need details and inserts.
The Canon 50mm macro shows very little distortion, and outperforms most zooms for sharpness. Pixel peepers might want to check out our Canon 50mm lens comparison post. This lens covers full frame, and accepts 52mm front filters.
The Canon 50mm f/1.8 is Canon’s cheapest nice lens, or maybe Canon’s nicest cheap lens. If you’re shooting for low price in low light, nothing beats the “Thrifty Fifty.” Autofocus works well, but not quietly. For video shooters, we suggest upgrading to the 50mm f/1.4 with a more accessible focus ring and quieter focus, or the Rokinon 50mm T1.5.
The thrifty 50 lens flares more than most of Canon’s lenses, but otherwise the optics are pretty impressive for the price. It’s also very lightweight and not much taller than some pancake lenses. The lens has 52mm front filter threads.
If you haven't found what you're looking for, try the search box above, or call (414) 939-3653. We have way too many clamps, cables, and widgets to list everything. And we have new stuff coming all the time, too!
Shooting video with crew off-set is possible, but it comes with some limitations and caveats. Drop kits are a zero-touch way to record high quality video remotely. If you’re using a drop kit to record the A-roll for your video, it’s important to know what you can (and can’t) expect from your r...