ZEISS Cinema Zoom Lenses

High-performance cine zoom lenses that make the most of the moment.

The ZEISS Cinema Zoom lenses deliver great flexibility thanks to interchangeable mounts, allowing them to be used with a wide range of cameras from multiple manufacturers. There is a comprehensive choice of cinema zooms with consistent aperture, good sharpness and contrast, minimal distortion and a look that matches the highest quality cinema primes including ZEISS/ARRI lenses. Affordable, flexible and offering the highest quality, the ZEISS Cinema Zoom lenses are an invaluable addition to any film set.

ZEISS Cinema Zoom lenses are precision engineered within the tightest possible tolerances. This guarantees you excellent image quality with low distortion, high resolution and excellent color rendition for sharp, punchy pictures.

High resolution and contrast; ready for 8K and beyond
Excellent color correction
Flare suppression through T* anti-reflex coating and internal light traps
Low distortion
Round out-of-focus highlights
Color matched

Escape (Behind the Scenes)

_{Director: James Tonkin
Cinematographer: Den Lennie
Shot On: ZEISS Cinema Zoom Lenses | RED Epic}

Symphonic Orchestra

_{Director: –
Cinematographer: Tom Fährmann
Shot On: ZEISS Cinema Zoom Lenses}

Paris Proposal

_{Director: –
Cinematographer: Adrian Weinbrecht
Shot On: ZEISS Cinema Zoom Lenses | RED Epic Dragon 5K}

Hydroflex Underwater Dramatic Shots

_{Director: –
Cinematographer: –
Shot On: ZEISS Cinema Zoom Lenses | ARRI Alexa}

Zburbs (Behind the Scenes)

_{Director: Greg Zekowski
Cinematographer: Christian Sebaldt
Shot On: ZEISS Cinema Zoom Lenses | Panasonic VariCam LT}

Demo Reel (15-30mm)

_{Director: –
Cinematographer: Matthew Allard
Shot On: ZEISS Cinema Zoom Lenses | SONY F55}

Features

ZEISS Cinema Zoom lenses feature exquisite optics in a robust, durable package – two characteristics that will surely remain desirable for decades to come. And thanks to their interchangeable mounts, Cinema Zoom lenses offer the possibility to upgrade to any number of existing or future cine and still cameras while still using the same set of lenses. Additionally, they all cover a full-frame image format without vignetting.

Full-frame coverage (36 x 24 mm) for focal lengths of 15 to 200 mm
Common aperture of T2.9
Sweet spot effect with Super 35 sensors
Interchangeable mount
No visible focus shift while change of focal length
Robust cine-style housing

No visible breathing
Calibrated focus scales
Nearly 300 degree focus rotation
Round iris for organic look
No visible ramping

Technical Data

	Cinema Zoom 15 - 30 mm	Cinema Zoom 28 - 80 mm	Cinema Zoom 70 - 200 mm
Aperture range	T 2.9 to T 22	T 2.9 to T 22	T 2.9 to T 22
Focal range	15 - 30 mm	28 - 80 mm	70 - 200 mm
Close focus distance¹	0.55 m / 1'10"	0.83 m / 2'8"	1.52 m / 5'
Length²	198 mm / 9.92"	196 mm / 7.72"	250 mm / 9.84"
Front diameter	114 mm / 4.49"	95 mm / 3.7"	95 mm / 3.7"
Weight	2.6 kg / 5.7 lbs	2.5 kg / 5.5 lbs	2.8 kg / 6.2 lbs
Horizontal angle of view
Full-Frame³	100 - 62°	66 - 25°	29 - 10°
APS-H⁴	90 - 54°	57 - 21°	24 - 9°
Super 35⁵	79 - 46°	48 - 18°	20 - 7°
Normal 35⁶	72 - 41°	43 - 16°	18 - 6°
APS-C⁷	73 - 42°	43 - 16°	18 - 6°
MFT⁸	59 - 33°	34 - 12°	14 - 5°

Remarks:
1) Close focus distance is measured from the image plane
2) Front to PL mount flange
3) Horizontal angle of view for a full-frame camera (aspect ratio 1:1.5, dimensions 36 mm x 24 mm / 1.42“ x 0.94“)
4) Horizontal angle of view for an APS-H camera (aspect ratio 1:1.81, dimensions 30.2 mm x 16.7 mm / 1.19“ x 0.66“)
5) Horizontal angle of view for an ANSI Super 35 Silent camera (aspect ratio 1:1.33, dimensions 24.9 mm x 18.7 mm / 0.98“ x 0.74“)
6) Horizontal angle of view for a Normal 35 Academy camera (aspect ratio 1:1.37, dimensions 22 mm x 16 mm / 0.87“ x 0.63“)
7) Horizontal angle of view for an APS-C camera (aspect ratio 1:1.50, dimensions 22.3 mm x 14.9 mm / 0.88“ x 0.59“)
8) Horizontal angle of view for a Micro 4/3 (MFT) camera (aspect ratio 1:1.33, dimensions 17.3 mm x 13 mm / 0.68“ x 0.51“)