MK-12mm T2.2 M43

When I opened the box, I was surprised by the size. I thought that it was going to be huge but it was very compact. I'm used to using a Metabones 0.71x with Sigma Art Series and Panasonic MFT photography lenses. I wanted to buy native cinema lenses because I believe that the extra glass from the Metabones effects the image quality of my EF lens. The focus by wire from the Panasonic lenses stops me from using gimbals and follow focus systems. When I put this lens on my BMPCC4K for the first time, I was amazed by the sharpness of this lens. Wide open at T/2.2 creates a good, shallow depth of field. The sweet spot for this lens is T/2.8-T/5.6. This is where the lens is the sharpest. It shines between this range. I'm finally able to use my follow focus systems with my BMPCC4K and BMMCC. I'm going to buy the whole set now! If you have a MFT camera and you're looking for affordable Cinema Lenses, get this lens and the whole set. This is a must buy!

$400 each for these lenses is an absolute steal! They are solid aluminum, with very high quality construction. Paired with Tilta Nucleus Nano, this is an amazing lens. I have also purchased the 25mm and 50mm lenses as well, and I plan to own all 6 once the 65mm is released. I have two minor complains: 1. The spacing on the 12mm follow focus teeth are slightly different from the other two lenses. I can still use it just fine witout readjusting the Nucleus N, but I do it anyway to make sure there is 100% contact. 2. The distance markings are not consistent from lens to lens. This lens is labeled .72 ft, where as the 25mm starts with 10". Bonus Info: - Minimum focus distance is .72 ft or 22cm. - Just a side note, in case you were making this consideration, the 12mm lens is not very good for use with a Glide Gear teleprompter. It can see the top as well as the front tablet bracket. My 25mm works fine without any problems.

These cine lenses are a game changer for filmmaking! Worth every penny plus!! Don’t hesitate if you are considering any of these. I did HOURS of research and chose Meike. Just filmed a feature film on them and amazing cinematic quality!

Give that the only affordable cinema primes are the Rokinons (as of right now Veydra is out of business and no one else is producing cine lenses under $1000), the Meieke line of cinema primes is a very welcomed addition. To me, the Meiekes seem far better built than the Rokinons (they feel more substantial even through they are smaller than the Rokinons) and even though they are advertised as T2.2 and the Rokinons as T1.5, I much prefer the feel of the Meikes and feel that their lenses are built for the long haul. That extra stop of light (if it even exists) doesn't bother me; I've been happy to buy every single Meike cine prime so far, whereas I only bought the 35mm Rokinon. Given that the MFT format is inherently unfriendly to shooting wide (the 12mm gives you 24mm on a GH5, for example) having a 12mm in the lineup seems to be just about right - there is little to no significant distortion that I can observe, and I can't really see myself needing to go much wider than that - If I do I'll either reach for a full frame, or pop a speedbooster on and go with some of my wider EF lenses. For me, the value of these lenses (other than them being quite affordable), is that they are not focus by wire, the focus ring is declicked and smooth and long, which makes pulling focus a pleasure and very easy to do on my own, and that they are fitted into identical housing, so you can swap them without needing to deconstruct and rebuild your rig - in fact, I'll venture that if you have one of these lenses on a gimbal, you should be able to swap it out without re-calibrating, which can be quite a time saver. Anyway, I'm no pixel peeper, and as such I can't tell you if these lenses are way sharper than some other lenses, or if the barrel distortion would be acceptable to someone shooting architectural interiors, or anything like that. What I can tell you is that I love using them because they help me tell a story working with the equipment instead of fighting against it, and that's why I reach for them 99 times out of a 100.

The build quality is excellent but the image quality is not as good as I hoped..It's not very sharp wide open & the image seem to be much darker when compared to my other lens of the same focal length & Fstop..I also purchased the 16mm which still gave me a similar result so I return it as well..

I’m always doing run and gun type shoots and I need a lens that can basically be used for just about anything and all situations ranging from social media content to real estate videos and even some music videos. This lens does the trick and can work in most situations with my BMPCC 4K.

The Meike 12mm T2.2 Cine Lens is another solid entry from the little known Chinese manufacturer, Meike. It mostly matches–physically and optically–its 25mm and 16mm siblings. Any shortcomings are minor, especially when considering the price point. If the 35mm and 50mm continue this trend, indie filmmakers will have a formidable set at the ready for less than the cost of one Xeen lens (which is very soft wide open.) Pros - Solid, all metal construction. Same 77mm filter threading as other lenses. - Nicely dampened focus and aperture with standard pitch gears and 270º+ throw. - Neutral color rendition - Tack sharp center, even wide open - Little geometric distortion or vignetting - Less than $400 US Cons - A few millimeters shorter than 25 and 16, requiring matte box adjustment. - Soft corners. (But not more than one would expect from most lenses this wide.)

Having found the 16mm and 25mm T2.2 cinema lenses amazing values - quality vs. price - I eagerly awaited the 12mm lens to be available, as my videography interest are more directed towards travel-scape (wide-angle) recordings. The 12mm is well worth the wait - coupled with my BMPCC 4K or my ZCam E2 4K - the captured image is impeccable. While with any manual-focus cinema lens, one needs to employ focusing assist technology (focus peaking) to be spot-on during recordings - the few seconds of additional time to check focus always pays visual dividends. The casual videographer may be better served with an auto-focus lens (such as the Panasonic F 2.8, 12mm-35mm). The 12mm T2.2 is heavier than the 16mm T2.2 (652gm vs. 615gm) with its additional glass reflected in a slightly higher price - still a bargain for a cinema lens of this optical quality. I'm sure that YouTubers will be providing more in-depth reviews in the near future - but I suspect all will reach the same bottom line, it well deserves the 5 stars I've given it. Highly Recommended