Meike Super 35 Prime Cinema Lens-12mm T2.5 for Canon EF-Mount / Arri PL-Mount Cine Cameras

I’ve been using Meike for a while and my love for the image it gives me is incomparable. The value is amazing for what you get. The customer service is exceptional. Planning to buy a few more in the next few months. This 12mm is great too.

I have the 18mm and the 35mm EF S35 Meike. I tested them against the more expensive Zeiss and Canon EF prime lenses. I prefer the Meike, I like the feel of the lens in your hands and the bokeh. The lens is slightly soft which I like too compared to the colder hue and sharper images one gets with Zeiss prime lenses. The only thing is one needs to install the shims for the backfocus, which I still have to do.

I am working on a documentary about architecture and this lens matches well with footage from the 100mm and 35mm I use to record 2-camera interviews on 2 Blackmagic 6K pros. Sharp as needed and the 2.5 is a huge help in low-light. This being a native S35 lens means no more mentally guesstimating the crop factor of a full-frame lens... you get a field of view that is precisely what the lens says it is. The build quality is impeccable as are all the Meike S35 lenses.

I am the owner of a set - 8, 12, 16, 25, 35 and 50mm MEIKE Cine T 2.2 lenses for M43 cameras. Recently I purchased a BMPCC 6K Pro. My videos are more directed towards landscape rather than people, so I tend to use wider FOV lens. I was interested in comparing the MEIKE 12mm T2.5 for S35 camera sensors to other camera (non-cine) lenses (EF Mount) which I have used with my BMPCC 4K and a Metabone SpeedBooster 0.71x adapter. These other lenses are a (1) custom modified Canon EFS 10-18mm STM and a (2) Tokina 11-20mm. F 2.8 atx-i 120CF-C (EF mount). Focus assist is supported on the BMPCC6K Pro and was used as a focus guide. Focus assist was also used on the manual focus MEIKE. The material recorded was a tabletop arrangement of 3 wine bottles, a vase of flowers and a wicker basket containing green apples. The arrangement was about 26” from the BMPCC 6K. The BMPCC 6K also had a RAWLITE OLPF filter installed; no internal ND filters were in use. The focus point was a wine bottle label – MANINA (6mm high lettering) and Sauvignon Blanc (2.5mm high lettering). I found that all 3 lenses could be used with the S35 sensor in the BMPCC 6K Pro without experiencing vignetting. The 6K BRAW recordings were prepared for HDR 10+ playback, downsizing the 6K image to a 4K timeline and displayed on a 10-bit ASUS PA32YCR-K monitor. Davinci Resolve settings were ISO 400; Color Temperature 2850K, Tint 15, Exposure 2.0. Gama value on Contrast was increased to 1.25 for all recorded images. The F value for the Canon, Tokina and MEIKE lenses was set at 5.6 or T5.6. RESULTS: All three lenses provided sharp, usable images. Reviewed on the ASUS monitor, the sharpness of the MEIKE and Canon was very, very close. The Tokina lens seemed slightly less sharp compared to the other two lenses – but still highly useable, considering the depth of field at 12mm.