Most cinema cameras today can work with lenses designed for cinema use, as well as those designed for still photography, but there are still important differences between these lenses. I teamed up with Snehal Patel from Zeiss to answer the question "what makes a lens a cinema lens"?

There are currently many new cameras hitting the market, often with new lens mount types. It comes as no surprise that everyone is trying to determine the best lenses for their new camera system, while others are trying to utilize lenses they already own with a new camera. We all know that lenses often outlive our cameras, so it only makes sense to get the most out of them.

You've selected a lens family, but choosing which focal length to use for each shot is an art in itself. A few things to consider when choosing your focal length are: proximity of the camera to the subject, whether the camera is a character in the story or purely observational, and whether you'll be using the lens to control the subject's perspective and their relationship to the background.

One of the great features of the Zeiss CP.2 Prime lenses is the ability to change lens mounts.

Zeiss has carried on the tradition of the Super Speed family with its latest additions to the CP.2 line. These new T1.5 lenses come in 35mm, 50mm and 85mm focal lengths and share many of the same features as the other CP.2s, including a 114mm front diameter and interchangeable mounts.

Zeiss's eagerly anticipated CP.2 lenses, with interchangeable lens mounts, are here! These revolutionary lenses offer Zeiss's superior optical quality in an EF mount that makes them the ideal choice for HDSLR shooters, and the new lenses are more affordable than ever.

Today Zeiss announced pricing for their new Compact Prime Series 2 lenses. With mount interchangeability between PL, EF and F, these lenses are not only more versatile, but also the price has been significantly reduced, making them even more affordable.