Sony CineAlta 4K Six Lens Kit (PL Mount)

Sony CineAlta 4K Six Lens Kit (PL Mount)

Sony CineAlta 4K Six Lens Kit (PL Mount)

B&H # SOSCLPK6F MFR # SCLPK6/F
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Expected availability: 2-4 weeks

Product Highlights

  • 20mm T2 Prime Lens
  • 25mm T2 Prime Lens
  • 35mm T2 Prime Lens
  • 50mm T2 Prime Lens
  • 85mm T2 Prime Lens
  • 135mm T2 Prime Lens
  • Circular Aperture with 9 Blade Iris
  • Full Metal Construction
  • One Aspherical Element
  • Covers Super 35mm
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Sony SCLPK6/F overview

  • 1Description

The CineAlta 4K Six Lens Kit includes the 20, 25, 35, 50, 85 and 135mm cine prime lenses from Sony. Each lens has a fast maximum aperture of T2, with a circular 9 blade iris. These lenses are designed for Sony's CineAlta 4K cameras, including the PMW-F5 and F55 and cover Super 35mm sized sensors.

  • 20mm, 25mm, 35mm, 50mm, 85mm and 135mm prime lenses
  • All lenses have a maximum aperture of T2
  • Circular aperture with 9 blade iris
  • Full metal construction
  • One aspherical element
  • Designed for CineAlta 4K cameras
  • ARRI PL mount
In the Box
Sony CineAlta 4K Six Lens Kit (PL Mount)
  • 20mm T2 Lens
  • 25mm T2 Lens
  • 35mm T2 Lens
  • 50mm T2 Lens
  • 28mm T2 Lens
  • 135mm T2 Lens
  • 1-Year Limited Warranty
  • Table of Contents
    • 1Description

    Sony SCLPK6/F specs

    Focal Length 20 mm
    25 mm
    35 mm
    50 mm
    85 mm
    135 mm
    Maximum Aperture T2
    Iris Blades 9
    Image Sensor Size Super 35 mm
    Packaging Info
    Package Weight 39.0 lb
    Box Dimensions (LxWxH) 25.8 x 17.8 x 15.3"

    Sony SCLPK6/F reviews

    CineAlta 4K Six Lens Kit (PL Mount) is rated 4.9 out of 5 by 12.
    Rated 5 out of 5 by from Best buy value. I bought a set 3 years ago and it has been the best buy. I have 1 f55, 1 fs7 and Alpha 7SII, all three with PL adapter and I have do projects with the 3 cameras simultaneously, equaling the resolution power and color reproduction between the 3 cams. The resolution power is real for 4K and when I finished in UHD or HD the result is very satisfactory. The only details is that they are quite heavy lenses, but the cost-benefit ratio is very good. In wide lenses have some slight spherical aberrations not so bad for the cost. I have done many commercials, as well as the image and several scenes of Top Chef Mexico.
    Date published: 2017-07-31
    Rated 4 out of 5 by from Excellent entry level primes Amazing lenses for the value at the sale price. Sharp, clean, and neutral is all I really ask of lenses. if I want a look I'll start messing around with diffusion and other filters. Reasonably fast, and sharp wide open. My only real complaint with the lenses is that they are big and heavy...but they are well built. Great mechanics. I even had a green AC drop the 20mm during a shoot, and it survived the impact on the wooden floor! Perfect set for an owner op. Great for daily use.
    Date published: 2015-10-31
    Rated 5 out of 5 by from Solid kit I primarily work in advertising and occasionally do narrative work. I came across this set a few months back on a job and fell in love with them. They are very well made, smooth, sharp, lenses. When I found out they were on sale at B&H I bit the bullet and bought a set. These aren't for everyone though. The lenses are relatively heavy and large when compared to others in their price range. More comparable in size and design to cooke s4's than Zeiss CP.2's. Wide open they are tack sharp. The bokeh is pleasing with a nice creamy quality to it. Mechanically these lenses are bullet proof. Visually they have a quality between the sharp clinical look of a zeiss ultra prime and the smooth dynamic look of an s4. These lenses have a very neutral optical coating with almost no warm/cool shift. They would make a very nice workhorse kit for someone who needs the quality but not the brand of the bigger names. I have used them on the Sony f55, Red Epic, and Arri Alexa with no complaints.
    Date published: 2015-04-17
    Rated 5 out of 5 by from Much Overlooked I've had my set for almost two years. I use them with my F55 and Arriflex 3C. Other than the need to do lens changes a bit more carefully, due to their size and weight, they are stellar lenses. Excellent color, contract and sharpness, across the entire set. It's unfortunate lens experts haven't given more attention to them since many buyers, who can't afford comparable lenses, are missing out.
    Date published: 2016-12-21
    Rated 5 out of 5 by from Great Lenses Great value over all! I'd have to say the color rendition and color matching is very good. No noticeable color fringing or CA so far. Tact sharp but not clinical, but most definitely pleasing. Pretty heavy so balance well and/or hit the gym if hand held! Focus ring and iris ring is pretty smooth no binding yet but we will put it through the paces.
    Date published: 2016-02-17
    Rated 5 out of 5 by from An excellent set of primes for the price Excellent color matched Minolta glass. Mechanically very solid. In my opinion these are optically superior to the CP2's and the speeds aren't all over the map. The only downsides are that they do not cover FF35 and they are a little heavy like the Red primes.
    Date published: 2015-01-13
    Rated 5 out of 5 by from Competent, dependable and a cracking image... I have to echo another reviewer here - and why I'm writing this review. I cannot understand why these delicious lenses haven't gained more traction. Quite simply, these are professional lenses - 'professional' means people pay money for the results you provide. And these lenses deliver money-making, on-screen quality again and again. We use them on FS7s and they are transformational. I still get excited in the edit suite looking at their perfect image capture - no compromise. The even illumination across S35, close to perfect geometry (the 20mm - the widest in the set - and technically the hardest to correct optically is distortion free), very low CA (a bit of longitudinal CA in extreme situations but no CA at the point of focus), flatteringly sharp (faces are rendered beautifully but the eyes still snap) and that 'pop' of the subject makes for, I think, an irrestible combination. No surprises, just very well drawn images. We do a fair bit of VFX and the fact that the set is matched is a huge benefit. Relative out-of-focus backgrounds look the same between the lenses at the same aperture so the look is consistent both in composites and, of course, adjacent shots of the same scene. OK, they're big and heavy. But there's no compromise. And if you don't want to compromise then you should seriously consider this glass.
    Date published: 2015-08-29
    Rated 5 out of 5 by from Another pleased buyer I've been a Canon L glass owner/operator since moving to the 5D Mark II as a video shooter in 2010. And, as good as that glass is, if you're looking at these lenses, you know just how insufficient they are for video work, particularly if you have moved back to video cameras. Having grown tired of renting CP2s and CN-Es, I was surprised to find these much more affordable lenses. Since buying and using them, I've grown even more surprised that they have garnered almost no press or even chatter among cinematographers. Make no mistake that these lenses are rock-solid (quite literally). As everyone said, yes, they are not lightweight (about six pounds each). And, as cine primes, they are not for everyone. They carry almost no brand recognition or loyalty, and so they are not likely to rent out in favor of glass from the likes of Zeiss or Canon. So, if your business model requires that you rent out your lenses, you might want to reconsider. But, for me, these lenses have changed the game. The price and uniformity, coupled with the quality, is simply unmatched by any other manufacturer. And, because they are less expensive, I don't need to rent them out anyway, which is good for their longevity. They are matched glass, not just in optical quality/color/other characteristics, but also in terms of their design. They have the same constant maximum aperture. They are all the same size (except for the 135), and they all put the focus gear in the same place. They have the same front diameter. They all share the same bokeh characteristics due to the 9-blade iris. In short, they are a proper set of lenses, unlike the offerings from some of their most closely matched competitors, which have apertures all over the place, and are rehoused still lenses. But perhaps the most important thing to note is that the character of the lenses works well for me. They are just pleasing to look through. They are not overly clinical, but they aren't too dreamy either. They are quite sharp, but they still produce a nicely rendered image, where you feel like you are right there with the image on screen. Breathing and CA are controlled very well, as is flare. There was no compromise with these lenses, and I was immediately confident that I could implement them with no surprises. I was hesitant to invest without being able to rent or try them first. And, I'm still surprised that I can't find much in the way of sample footage or other reviews online. I guess I'm just lucky to have found them.
    Date published: 2015-08-22
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    Customer Photos

    Sony SCLPK6/F Q&A

    Sony SCLPK6/F accessories

    Designed for use with:

    • AJA CION
    • ARRI ALEXA SXT
    • ARRI ALEXA SXT Plus
    • ARRI ALEXA SXT Studio
    • Blackmagic Design URSA 4.6K
    • Blackmagic Design URSA 4K
    • Blackmagic Design URSA Mini 4.6K
    • Blackmagic Design URSA Mini 4K
    • Canon EOS C200 PL
    • Canon EOS C300
    • Canon EOS C300 Mark II PL
    • Canon EOS C500
    • Canon EOS C500 PL
    • Canon EOS C700 GS PL
    • Canon EOS C700 PL
    • Digital Bolex D16
    • For.A FT-ONE
    • For.A FT-ONE-OPT
    • Panasonic VariCam 35
    • Panasonic VariCam 35B
    • Panasonic VariCam LT
    • RED DIGITAL CINEMA WEAPON
    • Sony PMW-F5
    • Sony PMW-F55
    • Sony CineAlta PMW-F5
    • Sony KickStarter PMW-F5
    • Sony XDCAM EX PMW-F3
    • Sony F65
    • Sony PMW-F3
    • Sony PMW-F5
    • Sony PMW-F55
    • Sony Venice
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