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RED Pro Prime 300mm T/2.9 PL Cinema Camera

The RED 300mm T/2.9 PL is a 300mm f/2.9 cinema lens designed for PL Mount mount cameras. Check GearFocus for current availability, with buyer protection on every purchase.

RED Pro Prime 300mm T/2.9 PL Cinema Camera

RED Pro Prime 300mm T/2.9 PL Cinema Camera

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Lens Overview — RED 300mm T/2.9 PL

The RED Pro Prime 300mm T/2.9 is a full-frame cinema prime lens built for professional filmmaking on PL-mount camera systems. Sitting in the telephoto focal length range at 300mm, it delivers a maximum aperture of T2.9 — a calibrated T-stop rating that ensures consistent light transmission across a matched lens set, which is critical for multi-camera productions and scene-to-scene color grading consistency. As a prime lens, it offers a fixed focal length with no zoom mechanism, which typically contributes to a more robust optical design and predictable optical performance in demanding production environments.

Focus is handled entirely manually, keeping creative control firmly in the hands of the focus puller — a workflow that is standard and preferred on professional cinema sets. The lens covers a full-frame image circle, making it compatible with the growing range of large-format cinema sensors in production today. At 3.2 kg, it is a substantial piece of glass that will require appropriate lens support on most rigs.

There is no image stabilization, which is expected for a cinema lens of this class where stabilization is typically handled at the rig or platform level. The PL mount ensures broad compatibility across a wide range of professional cinema cameras.

Key Features — RED 300mm T/2.9 PL

300mm Telephoto Prime: Fixed 300mm focal length delivers a dedicated, purpose-built perspective for portrait, wildlife, and long-range cinema applications.

T2.9 Maximum Aperture: Calibrated T-stop rating ensures precise, consistent light transmission across matched lens sets — critical for multi-camera productions and color grading continuity.

PL Mount: Industry-standard cinema mount provides broad compatibility with professional camera systems from ARRI, RED, Sony, and others.

Full-Frame Image Circle: Covers large-format cinema sensors, making it compatible with the growing range of full-frame production cameras.

Manual Focus Design: Smooth, cinema-grade manual focus ring supports precise, repeatable focus pulls aligned with professional on-set workflows.

Prime Optical Design: Fixed focal length construction eliminates zoom mechanics, contributing to a more robust build and consistent optical performance under demanding conditions.

Lens Specifications — RED 300mm T/2.9 PL

RED 300mm T/2.9 PL full specifications
SpecDetail
Use CasesVideo / Cinematography, Studio, Documentary, Creative Effects
Lens TypePrime
FormatFull Frame
Zoom/PrimePrime
Focal Length300mm
Maximum Aperturef/2.9
Camera SystemCinema / Video
Lens MountPL Mount
AutofocusNo
Focus TypeManual
Image StabilizationNone
Weight3.2kg

Description — RED 300mm T/2.9 PL

The RED Pro Prime 300mm T/2.9 is a dedicated telephoto cinema prime built around a PL mount and designed to cover full-frame image sensors. With a maximum aperture of T2.9, this lens delivers a measured, calibrated light transmission value — essential when maintaining exposure consistency across a matched prime set on professional productions. The 300mm fixed focal length places this squarely in telephoto territory, ideal for tight compositions, subject isolation, and long-distance coverage in cinematic work.

Focus is manual only, with no autofocus system, reflecting the standard operational approach on professional cinema sets where a focus puller manages critical focus throughout a take. The lens weighs 3.2 kg, making proper rig support a practical necessity on location or on stage. There is no image stabilization on board, so stabilization should be addressed at the camera support level.

The PL mount ensures the lens integrates seamlessly with a broad range of professional cinema camera bodies in active production use today.

Pros — RED 300mm T/2.9 PL

  • ✓T2.9 maximum aperture provides calibrated, consistent light transmission suited for multi-camera and matched-set productions
  • ✓Full-frame image circle coverage accommodates large-format cinema sensors
  • ✓PL mount offers broad compatibility with professional cinema camera platforms

Cons — RED 300mm T/2.9 PL

  • ✗No image stabilization (specifications confirm 'None'), so stabilization must be managed at the rig or platform level
  • ✗At 3.2 kg, the lens is heavy and will require dedicated lens support on most camera rigs
  • ✗No autofocus capability, which limits use cases outside traditional cinema production workflows

Videos — RED 300mm T/2.9 PL

Lenses that make ANYTHING look like a movie — Vuhlandes

Resources & Downloads — RED 300mm T/2.9 PL

Manuals & Guides

Frequently Asked Questions — RED 300mm T/2.9 PL

What camera mount does the RED Pro Prime 300mm T/2.9 use?+
The lens uses a PL mount, which is the standard mount found on a wide range of professional cinema cameras. This makes it broadly compatible across the professional cinema ecosystem.
Does this lens cover full-frame sensors?+
Yes, the specifications confirm a full-frame lens format, meaning it is designed to cover full-frame image circles. This makes it suitable for use with large-format cinema cameras.
Is autofocus available on this lens?+
No. The lens is manual focus only, with no autofocus capability. This is the standard workflow for professional cinema production, where a dedicated focus puller operates focus during shoots.
How heavy is the RED Pro Prime 300mm T/2.9?+
The lens weighs 3.2 kg. Given this weight, proper lens support on your camera rig is strongly recommended to protect both the lens mount and your camera body.
Does this lens have image stabilization?+
No, the specifications confirm that image stabilization is not present. For stabilized shots, you will need to rely on your rig, gimbal, or camera platform for stabilization.
What is the difference between a T-stop and an f-stop rating?+
A T-stop (T2.9 in this case) is a measured value of actual light transmission through the lens, accounting for any light lost to internal elements. An f-stop is a calculated geometric ratio. T-stops are preferred in cinema because they ensure consistent exposure when matching lenses across a set.

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