Looking to buy cinema prime lenses? Canon has two new different lineups: Sumire Prime, and CN-R prime lenses. We explore the differences.

 

First of all: What do Sumire Prime and CN-R cinema prime lenses have in common?

As cinema prime lenses, Sumire (pronounced “Soo-mee-ray”) Prime lenses and CN-R prime lenses share some fundamental features. In addition to the key features of cinema lenses, such as bright T-stop settings, consistent gear positions, and uniform colour balance throughout the lineup, the lenses in both lineups have:

- A smooth 300-degree focus throw
- An 11-bladed circular iris that gives natural-looking circular bokeh wide-open, and 22-pointed sunstars when stopped down to a narrow aperture.
- The same focal length and T-stop combinations.
- Compatibility with large-sensor cinema cameras, including full-frame cinema cameras such as the EOS R5 C and C400.

Both the Sumire and CN-R cinema lens lineups are also high-end lenses designed to provide the impeccable optical performance demanded by today’s high-resolution digital cinema cameras.
However, there are three important differences between the two lineups.

 

Difference #1: Rendering

You might be wondering, so what distinguishes Sumire Prime lenses from CN-R lenses and the usual CN-E EF mount cinema prime lenses? (Note: Sumire Prime lens names also start with “CN-E” but have an “FP X” at the end, e.g. “CN-E50mm T1.3 FP X”.)

The clue lies in the name “Sumire”, which is the Japanese word for a violet flower, setting associations with softness, gentleness, and beauty.

Sumire Prime lenses are specially designed to offer the sought after traditional “cinematic look” while catering to the needs of modern high-resolution productions. They provide softer contrasts and bokeh at wider aperture settings, warmer skin tones, and smoother skin textures that are more aesthetically pleasing. At narrower apertures, the rendering will resemble CN-R and conventional CN-E lenses.

Meanwhile, CN-R cinema prime lenses, similar to CN-E prime lenses, deliver a more modern, clinical aesthetic with higher contrast and sharper reproduction of detail throughout the entire aperture range. Flares and lens aberrations are more thoroughly corrected.

Comparison of rendering

CN-R prime (CN-R135mm T2.2 L F) on EOS R5 C @ @ T2.2, 1/50 sec, ISO 1600

Sumire Prime (CN-E135mm T2.2 FP X) on EOS R5 C @ T2.2, 1/50 sec, ISO 1600

Both images above were shot on the camera at the same settings. On the Sumire Prime lens, the paint details on the white railing are rendered softer and gentler: the same will apply to skin textures, too!

Comparison of bokeh

CN-R prime lens

Sumire Prime lens

CN-R cinema prime lenses create bokeh that is uniformly circular across the entire frame, whereas on Sumire Prime lenses, the bokeh at the edges on the frame take on a distinctive shape. Also notice how the bokeh from the Sumire Prime lens is subtly smoother compared to that from the CN-R lens.

Other comparisons

CN-R prime (CN-R135mm T2.2 L F) on EOS R5 C @ T2.2

Sumire Prime (CN-E135mm T2.2 FP X) on EOS R5 C @ T2.2

CN-R prime (CN-R135mm T2.2 L F) on EOS R5 C @ T2.2

Sumire Prime (CN-E135mm T2.2 FP X) on EOS R5 C @ T2.2

 

Difference #2: Mount

Left: Sumire Prime lens (PL mount)/ Right: CN-R lens

Sumire Prime lenses use the PL (“Positive Locking”) mount, whereas CN-R lenses are native to the RF mount that Canon has adopted for its latest cameras.

Sumire Prime lenses: PL mount, no electronic contacts

The PL mount is a major industry standard for high-end cinema cameras, so if you use those, you’ll be able to mount Sumire Prime lenses on them right out of the box.

However, even if you mostly use EF mount cameras, you still can use them by getting the lens’ PL mount converted to the EF mount at an authorised dealer for a fee. If you use newer cinema cameras such as the EOS C400 or EOS C80, you can also adapt a Sumire Prime lens to the RF mount with the Mount Adapter PL-RF.

CN-R series lenses: RF mount, electronic contacts

CN-R lenses use Canon’s new RF mount, which promises better optical quality. You will be able to attach them to RF mount cinema cameras like the EOS C400, EOS C70, EOS C80, and EOS R5 C directly, no adapter required.

You’ll also notice 12 golden electronic pins that help the camera and lens communicate. That leads us to the third big difference between Sumire Prime and CN-R lenses.

 

Difference #3: Functionality and lens communications

A: Electronic contacts (communication pins)

As Sumire Prime lenses have no electronic contacts, there is no communication between the lens and camera. Autofocusing and onscreen lens information display are not supported—but that should be no issue for the experienced cinematographer or camera operator.

Meanwhile, CN-R lenses have 12 electronic connection pins, 4 more than the 8 pins on EF lenses. (See: RF Lenses vs EF Lenses: What's the Difference and How to Decide?). This supports faster and more robust lens-camera communication, allowing features that improve workflow efficiency and effectiveness such as:
- Virtual production workflow support
- In-camera image corrections (such as peripheral light and chromatic aberration correction)
- Display of lens information such as focal length and T-stops.
- Dual Pixel Focus Guide, a visual aid for manual focusing.

In-camera image corrections (in the red box) are unavailable (greyed out) with Sumire Prime lenses, but available with CN-R lenses.

Lens information display

CN-R prime lens

Sumire prime lens

A: Focal length
B: T-value
C: Dual Pixel Focus Guide
D: Focus peaking (blue outline)

For both screen captures, a 135mm lens was mounted onto the camera body. As Sumire Prime lenses do not communicate with the camera, there is no T-value, and the focal length shown is inaccurate (and will have to be manually keyed in). The Dual Pixel Focus Guide and focus peaking are available, but the former operates more accurately on a lens with mount communication.

 

Conclusion: Which lens should I get?

Go for Sumire Prime lenses if you’re looking for lenses with character, or if you like having the aesthetic defined on set instead of in post-production. Your images will have the distinct Sumire Prime aesthetic straight out of the camera—and it’s a look that is in line with many cinematographers’ artistic vision!

Meanwhile, CN-R cinema prime lenses shine in terms of functionality. If your projects vary in the style and aesthetics required, or if distortion and aberration corrections are important, the modern aesthetic and robust camera-lens communication capabilities of the CN-R lenses will be strong assets.

 

Summary of key differences between Sumire and CN-R Prime lenses

	Sumire Prime	CN-R
Mount	PL (convertible to EF; can be adapted to RF*)	RF native
Number of iris blades	11
Focus throw	300°
Full-frame image sensor coverage	Yes
Aesthetics	Softer, smoother, traditionally “cinematic” at/near maximum aperture	Relatively more modern. More contrast, priority on sharp detail rendering throughout the entire aperture range.
Lens-camera communication	No	Yes
In-camera lens correction functions	No	Yes
Phosphorescent indicators	Yes (Front barrel, for right-side viewing)
Screw-on filter compatibility	Φ105mm**
Front diameter	Φ114mm

* PL to EF mount conversion is available for a fee at authorised Canon service centres. The converted mount will have no electronic contacts.
As at October 2024, the PL-RF mount adapter is supported only on the EOS C400 and EOS C80.
**Except for the CN-E14mm T3.1 FP X and CN-R14mm T3.1 L F.

 

List of Sumire Prime lenses
- CN-E14mm T3.1 FP X
- CN-E20mm T1.5 FP X
- CN-E24mm T1.5 FP X
- CN-E35mm T1.5 FP X
- CN-E50mm T1.3 FP X
- CN-E85mm T1.3 FP X
- CN-E135mm T2.2 FP X

List of CN-R Prime lenses
- CN-R14mm T1.3 L F
- CN-R20mm T1.5 L F
- CN-R24mm T1.5 L F
- CN-R35mm T1.5 L F
- CN-R50mm T1.3 L F
- CN-R85mm T1.3 L F
- CN-R135mm T2.2 L F