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Mitakon Zhongyi Speedmaster 25mm T1

The Mitakon Zhongyi 25mm T1 Cine Lens is a 25mm f/1 lens designed for Micro Four Thirds mount cameras. Check GearFocus for current availability, with buyer protection on every purchase.

Mitakon Zhongyi Speedmaster 25mm T1

Mitakon Zhongyi Speedmaster 25mm T1

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Lens Overview — Mitakon Zhongyi 25mm T1 Cine Lens

The Mitakon Zhongyi Speedmaster 25mm T1 is a manual-focus cine prime lens built for the Micro Four Thirds mount. With a maximum aperture of T1 — an exceptionally fast T-stop rating — this lens is purpose-built for shooters who demand serious light-gathering capability in demanding conditions. The 25mm focal length sits in standard territory for the Micro Four Thirds format, making it a versatile choice across a range of shooting scenarios.

Its cine-type designation signals a design philosophy oriented toward video and film production, where consistent, calibrated exposure and smooth manual control are priorities. The lens is manual focus only, which suits dedicated cinematographers and videographers who prefer precise, deliberate focus pulls over autofocus systems. At 540g, it has a substantial, professional feel without becoming unwieldy on a mirrorless rig.

The 77mm filter thread is a commonly used size, making it straightforward to pair with matte boxes or standard filter systems. No image stabilization is present, so shooters will want to account for that in their rigging and support decisions. Overall, this is a specialist cine prime aimed squarely at Micro Four Thirds mirrorless users who prioritize maximum aperture and manual control.

Key Features — Mitakon Zhongyi 25mm T1 Cine Lens

T1 Maximum Aperture: An exceptionally fast T-stop rating of T1 allows maximum light transmission for low-light and available-light cine work.

25mm MFT Focal Length: Equivalent to approximately 50mm on full-frame, this standard field of view suits a wide range of narrative and documentary shooting scenarios.

Cine Prime Design: Built with video and film production in mind, prioritizing consistent exposure calibration and smooth manual operation over stills-oriented features.

Manual Focus Only: Dedicated manual focus ring supports precise, repeatable focus pulls suited to professional cinematography workflows.

Micro Four Thirds Mount: Compatible with the broad range of MFT mirrorless camera bodies from Panasonic and Blackmagic Design, among others.

77mm Filter Thread: A widely used filter diameter that integrates easily with standard matte boxes, ND filters, and other accessories common in cine rigs.

Lens Specifications — Mitakon Zhongyi 25mm T1 Cine Lens

Mitakon Zhongyi 25mm T1 Cine Lens full specifications
SpecDetail
Use CasesStudio, Video / Cinematography
Lens TypeCine
FormatMicro Four Thirds (MFT)
Zoom/PrimePrime
Focal Length25mm
Maximum Aperturef/1
Camera SystemMirrorless
Lens MountMicro Four Thirds
AutofocusNo
Focus TypeManual
Image StabilizationNone
Filter Thread77mm

Description — Mitakon Zhongyi 25mm T1 Cine Lens

The Mitakon Zhongyi Speedmaster 25mm T1 is a cine prime lens designed for Micro Four Thirds mirrorless cameras, offering a remarkable T1 maximum aperture that places it among the fastest lenses available for this mount. Operating exclusively in manual focus, it follows standard cine lens conventions where precise, repeatable focus control takes precedence over automated systems. The 25mm focal length occupies standard focal length territory on the MFT format, providing a useful perspective for a wide variety of productions.

Weighing in at 540g, the lens carries a reassuringly professional heft while staying compatible with mirrorless form factors. The 77mm filter thread ensures easy integration with professional filter systems and matte boxes commonly used in cine production. With no image stabilization, shooters should plan their support and rigging setups accordingly.

This is a purpose-built tool for Micro Four Thirds cinematographers and videographers who need maximum light transmission and full manual control.

Pros — Mitakon Zhongyi 25mm T1 Cine Lens

  • ✓Exceptional T1 maximum aperture provides outstanding light transmission for low-light cine work
  • ✓25mm focal length covers a versatile standard field of view on Micro Four Thirds systems
  • ✓Cine-type lens design prioritizes manual control suited to professional video production

Cons — Mitakon Zhongyi 25mm T1 Cine Lens

  • ✗Manual focus only — no autofocus support, which limits usability for stills photographers who rely on AF
  • ✗No image stabilization, requiring additional rigging or in-body stabilization to compensate
  • ✗Prime-only design with a fixed 25mm focal length offers no zoom flexibility

Videos — Mitakon Zhongyi 25mm T1 Cine Lens

CRAZY FAST, budget cine lenses | T1 Mitakon Speedmasters S35 (ZY Optics) — Ed Prosser

Frequently Asked Questions — Mitakon Zhongyi 25mm T1 Cine Lens

Does the Mitakon Zhongyi Speedmaster 25mm T1 support autofocus?+
No, this lens is manual focus only. It is designed as a cine prime where manual focus control is standard practice, particularly for video and film productions requiring precise focus pulls.
What camera mount does this lens use?+
The lens uses a Micro Four Thirds mount, making it compatible with MFT mirrorless camera systems. The lens format is specified as Micro Four Thirds (MFT).
What filter size does the Speedmaster 25mm T1 use?+
The lens has a 77mm filter thread, which is a widely used size that works with many standard filters, matte boxes, and follow-focus accessories.
Does this lens have image stabilization?+
No, the Speedmaster 25mm T1 has no built-in image stabilization. Shooters who need stabilization will need to rely on in-body stabilization if their camera supports it, or use external support equipment.
How heavy is the Speedmaster 25mm T1?+
The lens weighs 540g, giving it a solid, professional build that balances well on mirrorless camera setups while remaining manageable for handheld or rigged shooting.
Is this lens suited for photography or primarily video?+
Its cine-type classification and T1 aperture rating indicate a design focus on video and film production. The manual-focus-only operation also aligns with cine workflows, though photographers who prefer manual control can certainly use it for stills as well.

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