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This list aims to document every PL mount cinema lens available today.
PL Mount (positive lock) lenses are the standard for Cine cameras and can be adapted well to most mirrorless cameras. There is a fairly new LPL mount designed specifically for the new, larger sensor cinema cameras. If this ever gets fully adopted by all the third-party lens manufacturers, I may break them into their own lists, but for now, very few companies make the LPL mount, and very few people are even aware of it.
It is still a work in progress, but I’ll eventually have everything here. I’m making this PL lens list more personal research, and since I now have a nice table system that pulls from external spreadsheets, I should be able to keep it updated regularly without it being too time-consuming. I don’t expect this page to get much traffic, as PL lenses aren’t really consumer products, but if there is anything you’d like to see differently or anything I can do to make this page better, let me know in the comments.
All of these lenses can be used as cine lenses for Canon RF or Cine lenses for Sony E with adapters, but for Canon EF, many of these lenses also come in the EF mount for those using that setup on their cine cameras.
I currently use mostly B&H links for a few reasons: I can build links in about 1/5 the time with B&H Photo, and they are a great company with a helpful staff.
Table Of Contents
List of PL Cine Lenses – The Legends
Usually, I categorize these lenses by manufacturer; for example, Z lenses typically start with Nikon. However, with the PL mount, it’s an open system led by ARRI, and many PL lenses, such as those from ARRI and Cooke, are well-known. With this list, I’ll start with the big brands like Arri (Germany) and Cooke (England), then break it down by region.
Arri Lenses
Arri’s Website: Arri.com – Visit Arri’s website to see all their lenses, cameras, and adapters.
While Arri is known for its legendary cameras, some of its cine lenses are also quite popular. Arri has partnered with Zeiss and Fujinon to produce some of the best, most widely used cinema lenses. With the Zeiss Partnership, Arri has produced the Master and Ultra lines of spherical and anamorphic lenses, and has tapped into Fujinon’s expertise to produce the Alura cine zoom lenses.
Arri has also developed the new LPL mount, which uses the ARRI LDS-1 LDS-2 data transfer interface and is compatible with Cooke/i technology. Every ARRI lens has a wide range of features and technology.
Arri has a few different styles of lenses that look like this –
Arri Signature Lenses – Arri Signature lenses are designed to have a little more character and vibe. Crafted for high-end cinematography focusing on delivering exceptional image quality, they’re known for their beautiful bokeh, precise focus, and overall stunning visuals.
Master Prime Lenses – Master Prime lenses achieve meticulous perfection, with no compromises in image quality.
There are also anamorphic lenses and various adapters.
Cooke Lenses
Cooke Website: CookeOptics.com
Cooke, the Academy Award-winning lens manufacturer from England, is also one of the largest producers of cine lenses. It has several prime series for S35, FF, and large-format sensor cameras. Cooke also produces several zooms that provide a full-frame range from 19mm up to 215mm.
Cooke’s different PL Mount lens series are all color-matched and produce minimal flare, distortion, and aberrations. They also use various /i technologies (which are open protocols) to link lens data to cameras that support them. They also keep their classic lenses alive while using modern mechanics and optics in the Panchro series.
Like Arri, Cooke offers a range of lenses for various applications.
S Lenses – The “S” and the numbers refer to the Series. S5 is the fifth series of Cooke lenses, for example. Each series will have its own rendering style, and newer series will introduce further optimizations for modern systems. For example, S4 and S5 were primarily designed for the S35 format, while S7 and S8 lenses are compatible with full-frame cameras and are available in LPL and PL mounts. The newest S8 lenses are faster than the S7 lenses at T1.4 instead of T2. They incorporate the latest and best optics and technology to make the lenses smaller and lighter while maintaining a high-speed aperture.
Cooke Panchro Classic Lenses – Cooke Panchro lenses are based on the older cinema designs that are responsible for the “Cooke Look”. These will have a more vintage rendering.
Since we don’t have the optical formulas for these lenses, these designs are most likely inspired by older lenses from back before lenses were packed with aspherical elements and exotic glass. Expect simpler optical formula lenses with high micro-contrast, possibly accompanied by some field curvature and more natural-looking bokeh.
Anamorphic Lenses – Some of the lenses in the anamorphic series feature elements with different coatings. Regular and SF for enhanced flare coatings.
Some of Cooke’s full-frame and large-format lenses can be converted to LPL mount, or, for example, the Varotal/i lenses are available in LPL mount, according to their website.
Lens minimum focus distances measured from the front I marked with F; otherwise, assume the measurements are from the image plane. I’m pulling the stats here from B&H and some from Cooke’s website, which don’t always match. Even Imperial vs Metric on Cooke’s website doesn’t always match with some lenses, so double-check with Cooke for exact measurements.
Zeiss Lenses
Zeiss Website: Zeiss.com
While it’s common knowledge that many of the photographic Zeiss lenses are now manufactured by Cosina in Japan, the Zeiss Cine line of lenses is still being designed and manufactured in Oberkochen, Germany.
Like Cooke, Zeiss PL Mount lenses are also known for their “Zeiss Look,” or you may have heard of the Zeiss Pop. What is this? Zeiss T* coatings can produce a unique, almost blue cast in some lighting and flaring, but their lenses also have a pronounced contrast that is unique to Zeiss, usually with deeper shadows. With many of their photography lenses, it seems they try to keep the element count on the lower side, which can help produce a punchier, high-saturation/contrast look with good micro-contrast, contributing to that 3D Zeiss Pop. However, some of their more modern designs have lost some of this aesthetic in favor of optical perfection.
When looking at Cine lenses, Zeiss offers a few styles, including Supreme Prime, Supreme Prime Radiance, the CP.3, and the Zoom series.
Supreme Prime – Supreme Prime Zeiss lenses are the top-of-the-line, incorporating the best technological advancements into their designs and materials.
Supreme Prime Radiance – Supreme Prime lenses, but they dial back the coatings for a bit more flare, a slightly more classic, unpredictable rendering, and a little more glow in some situations.
CP.3 Zeiss Lenses – CP.3 Lenses are Zeiss’s compact option. They still feature the best technology Zeiss has, but in a smaller package.
Arri also offers a series of Zeiss anamorphic lenses, which you can find on the Arri table.
American Lens Companies
Atlas Lenses
Atlas is a fairly new company based in Glendale, California, that has brought some nice, affordable cine anamorphic PL-mount lenses to the market. From what I understand, they keep these lenses affordable by using the same anamorphic lens groupings, with focal-range expanders or reducers in front or behind the groupings to achieve different focal lengths. I wouldn’t be surprised if most companies do this to some extent with their lineups, considering they all have very similar setups. Most cinematographers like these lenses because of the price. They can be a little soft at f2 but really shine at f4, and I’ve seen some comments on the very prominent blue flares.
Lensbaby Lenses
Lensbaby is a company based in Portland, Oregon, known for its special-effect lenses. They have engineered a few of their designs for the cine market to be used with the PL mount.
Canadian Lenses
Simmod Lenses
Simmod Lens provides a total workflow solution built around the PL-Mount standard:
Vintage Lens Conversion: Simmod’s professional service and conversion kits (e.g., for Mamiya 645) allow you to permanently convert vintage stills lenses into a positive-locking, shimmable PL mount. This transforms legacy glass into cohesive, durable cinema sets.
Native PL Cine Lenses: The Apsara Prestige Series offers high-end, large-format primes with a native PL-Mount. These lenses feature robust mechanics, a consistent 95mm front, 0.8 mod gears, and a subtly vintage image character, ready for the most demanding cinema cameras (like ARRI and Sony VENICE).
PL System Flexibility: Simmod manufactures professional, shimmable adapters to bridge your PL glass to other professional systems:
ARRI PL to LPL Adapter: Essential for adapting your PL inventory to modern, large-format LPL-Mount cameras.
PL Adapters for Mirrorless: Precision adapters (for Sony E, Canon RF, L-Mount, etc.) let you use your PL glass on smaller, hybrid cameras.
Finish Lens Companies
Whitepoint Optics
I believe Whitepoint Optics is a fairly new company in Finland.
More info is coming soon.
French Lens Companies
Angenieux Lenses
Angenieux is a French company founded in 1935. As an optics company, they produce a wide range of lenses, from those used in commercial and medical applications to those used in cinema and photography.
They offer a full range of Prime and Zoom PL Mount lenses, designed for Super 35 and full-frame sensors, which utilize the Cooke /i and LDS metadata interfaces.
The Angenieux Zoom lenses cover 3-Perf to 4-Perf 35mm sensors, which are Super 35mm of different heights. These lenses feature an almost modular design and come with interchangeable rear groupings, allowing them to be adapted for full-frame use. Additionally, the anamorphic lenses can be configured with spherical kits.
The Optima prime lenses feature a replaceable iris blade unit, allowing for the customization of the bokeh look, including an anamorphic effect.
Many of the zoom lenses can be configured with an ASU Servo Unit.
German Lens Companies
Gecko-Cam Lenses
Gecko repackages classic lenses in cinema housing, and I believe they also offer their custom designs. More info is coming soon.
IBE Optics
IBE Optics designs and produces optics for various applications. This is the same company that collaborated with Kipon to design its original Leica M-mount lenses, but it also manufactures its own PL cine lenses.
Leitz Cine Lenses
Leitz, the original name of the founder of Leica, lives on as a brand that continues to make cine lenses in Germany. Leitz Cine lenses are designed for large-format 65mm sensors and are available in PL or LPL mounts.
P+S Technik Lenses
A cine lens company that got its start in the 1990s by refurbishing camera technology, eventually introducing its optics later that decade. Now, over 30 years later, they have a complete line of anamorphic cine lenses.
Coming soon.
Schneider Kreuznach Lenses
Founded in 1913, Schneider Optics produces lenses for the industrial and photographic markets. Their full-frame cine lenses are available for multiple brands in multiple mounts.
coming soon
Japanese Lens Companies
Canon Cine Lenses
Canon Website: Canon.com
Canon offers several Cine PL lenses that are generally well-received. It’s not too expensive, and you get Canon expertise – what’s not to like?
Their prime lenses are designed for full-frame sensors, and they’re also available in the EF mount. The full-frame primes have a 114mm front diameter, which is the most common, making lens swapping between brands a little less painful. The primes are also threaded for 105mm filters, as Canon cine lenses are more popular among run-and-gun documentary filmmakers who often don’t use matte boxes.
Canon offers a line of full-frame zoom lenses. Additionally, for S35, they offer Cine SERVE lenses and a notable super-zoom.
Fujinon Lenses
Fujinon, a Fujifilm company, is fairly legendary for its cine zoom lenses. They’ve even partnered with Arri to produce a few zooms for the Arri cine lineup. Under its Fujinon brand, the company offers several cine zoom lenses in PL mount, suitable for both S35 and large-format sensors. Cinematographers generally love their lenses.
Sigma Lenses
Sigma, a family-owned Japanese company renowned for its photography lenses, also boasts a substantial lineup of Cine lenses. Their lenses typically have a higher element count and are very correct for a clean look.
Tokina Lenses
Tokina is another very popular lens manufacturer from Japan. It also has a great line of FF cine lenses in the PL mount.
These are PL-mount Tokina lenses, but they also offer some LPL lenses.
Korean Lens Companies
Samyang / Rokinon Lenses
Samyang / Rokinon has some exciting PL cine lenses. Some standard primes, some anamorphic as well, and some ultra-light carbon fiber primes.
Swiss Lens Companies
IRIX Cine Lenses
Irix, a Swiss company that uses Japanese optics, offers a series of Cine lenses compatible with the P Mount. These lenses are full-frame Cine lenses that are weather-sealed. Very few brands advertise weather sealing on their lenses.
List of Irix Cine lenses for the PL Mount.
Ukraine Lens Companies
Xelmus Apollo Cine Lenses
Xelmus, a Ukrainian company, offers a series of anamorphic lenses compatible with the PL mount. These lenses look amazing, and I love the design. They may be a little hard to find at local retailers, but you can order them directly from Xelmus.
The list is coming soon.
Iron Glass
Iron Glass repackages classic Soviet designs, such as the Helios 44-2 or the Jupiter 9, into PL cine bodies.
I’ve talked to lens company owners before about just remaking old Helios 44-2 lenses, but they say it would be too difficult. The chemistry of the lens and its various characteristics, such as refractive index, are too complex to replicate. So companies like Iron Glass take the optics and rebuild a housing around them with modern features.
Chinese Lens Companies
While I try to keep the list alphabetical, I place China at the bottom because it now has so many companies manufacturing lenses. Not because Chinese lenses are inferior to those of any other brand. They are not. Many Chinese lens companies are now excellent, offering a range of different and unique designs that should not be overlooked when seeking more budget-friendly lenses. For example, Venus Optics provides a well-designed set of anamorphic S35 cine lenses that can be ordered with various color coatings, producing distinct color flares to complement your aesthetic. Vazen is also doing something similar.
7Artisans PL Mount Lenses
It’s been fun watching 7Artisans develop over the years and become a pretty interesting lens company. I’ve liked most of their lenses recently, so it’s nice to see them making some affordable PL lenses.
AstrHori
AstrHori has aggressively entered the lens-making business over the last few years and offers some designs with a PL mount.
Chiopt Lenses
Chiopt is a company that transitioned from industrial optics to the cine lens market, specializing in affordable, high-resolution full-frame optics.
For the PL mount, Chiopt offers two main product lines:
SLASHER Macro Prime Series: A set of fast, fixed-focal-length lenses (e.g., $24\text{mm}$ to $100\text{mm}$) which notably feature built-in macro capability across the set, offering high resolution and consistent image characteristics for professional digital cinema.
XTREME Zoom Series: Professional, parfocal zoom lenses (e.g., $28-85\text{mm}$ and $75-250\text{mm}$) with a constant T3.2 aperture, designed for consistent performance across the zoom range on cinema cameras.
DZOFilm Lenses
DZOFilm is another Chinese company quickly growing in popularity among cine shooters. It offers professional-grade optics at a more accessible price point, allowing growing filmmakers to achieve cinematic visuals without compromising on quality.
DZOFilm lenses are designed to impart a cinematic look to your footage, with characteristics such as pleasing bokeh and controlled flaring. With these aesthetic qualities and a build that withstands the demands of regular use in professional filmmaking, DZOFilm lenses are an attractive option across production scales.
Meike Cine Lenses
Based in Hong Kong and founded in the mid-2000s, Meike PL Cine lenses are crafted for filmmakers who seek quality without breaking the bank; these lenses offer solid performance at an affordable price. With a PL mount, they seamlessly integrate into professional cinema setups, providing the flexibility needed for diverse shooting scenarios.
Meike Lenses typically have a more classic rendering and often use fewer elements and less advanced coatings. Like all brands, they continue to improve their technology and push towards higher-end designs.
Mitakon Zhongyi Lenses
Mitakon Cine lenses are designed to meet the demands of filmmakers and cinematographers who crave exceptional imaging at an affordable price point. With a focus on providing versatility for various shooting scenarios, Mitakon Cine Lenses often feature robust build quality and precise optics.
Mitakon had a bumpy start, but over the years, the designs and build quality of their lenses have improved, and today, they offer some very compelling and reliable lenses.
Nisi Lenses
Nisi continues to expand its Cine PL mount lens lineup. Their Athena lenses are full-frame and come in various mirrorless mounts. What makes them interesting for mirrorless mounts is their ability to accept drop-in rear filters, which is not possible with the PL mount.
Sirui Cinema Lenses
SLR Magic Lenses
A Hong Kong-based company, SLR Magic, produces affordable cinema lenses that deliver high-quality imagery. SLR Magic Cine Lenses are a favorite among those seeking a balance between performance and budget.
SLR Magic initially gained particular attention for its anamorphic lenses, allowing filmmakers to achieve a widescreen cinematic aspect ratio. These lenses can add a cinematic flair to productions, evoking a reminiscent look of classic films.
Vazen Lenses
Vazen is a relatively new company based in China that initially focused on producing micro four-thirds lenses. Today, they offer a line of Full Frame anamorphic lenses, which can be ordered with different coatings to produce amber or blue flares.
Venus Optic Laowa Lenses
Venus Optic is committed to innovation, regularly introducing new products and expanding the Laowa Cinema Lens lineup. This commitment keeps them at the forefront of the industry, offering filmmakers cutting-edge tools for their craft that are not available from any other brand.
Some Laowa Cinema Lenses feature unique characteristics, such as ultra-wide angles, macro capabilities, or even probe lens designs, allowing filmmakers to explore new creative possibilities.
Viltrox Anamorphic Lenses
Viltrox has released a series of full-frame anamorphic cine lenses for the PL mount with a 1.33x squeeze.
1.33x for an anamorphic lens doesn’t seem like enough squeeze on a 16:9 full-frame sensor, but it still delivers a 2.35:1 aspect ratio. Shooting an open gate with a 3:2 sensor would produce a 2:1 image once desqueezed. However, the 1.33x squeeze would not be convenient for a 4:3 sensor, as it would yield only a 1.77 aspect ratio, equivalent to 19:9.
PL Mount Lens List Conclusion
I’ll continue hunting and adding to this list of PL cine lenses so it becomes the ultimate list of every PL lens available.
If you found this list helpful or want to see anything different, let me know in the comments. Also, let me know if I missed anything. Cinema lens announcements don’t usually get much press coverage and often slip under the radar, so please keep me updated on anything you know I’m missing.
Or if you think it would be useful to list any other cinema gear or lens-related accessories, let me know.
