Meike Cinema 12mm T2.2 Wide Angle Manual Focus Lens for MFT (Micro Four Thirds), Black {77}

Meike 12mm T2.2 Cinema Prime built for MFT video work.

At 12mm on a Micro Four Thirds body, you get a genuinely wide perspective that works for environmental storytelling, tight interiors, and run-and-gun documentary shooting. The T2.2 maximum aperture keeps you shooting in lower light without pushing ISO into noise territory, and the cinema-spec T-stop rating means the exposure you set is the exposure you get, consistently across a set of matched primes.

The optical construction uses low-dispersion glass with a high refractive index, which keeps color fringing in check across the frame. Multilayer coatings reduce flare and ghosting when shooting into practical lights or windows, which matters when you're not controlling every fixture on set. Low distortion at 12mm is a genuine engineering achievement at this focal length, and the lens delivers smooth, circular out-of-focus rendering in the background. Focus breathing is minimal, so push-pull focus pulls don't shift your composition mid-shot.

The lens has no electronic communication with the camera body, which means no EXIF data and no electronic aperture control. That's a known trade-off for a dedicated cinema build, where mechanical repeatability on a manual iris takes priority over in-body automation. With a 77mm filter thread, you can run standard matte box rings or drop-in ND filters without stepping rings.

Who It's For

Micro Four Thirds video shooters building out a prime kit on a budget will get direct use from this lens. Documentary cinematographers working in tight spaces benefit from the wide 12mm angle of view and the low-distortion rendering. Filmmakers shooting with small MFT cinema cameras or mirrorless bodies like the Panasonic GH line will appreciate the T2.2 aperture for available-light scenes. Content creators doing environmental or architectural work will find the combination of low distortion and flare-resistant coatings useful when shooting near windows or mixed lighting sources.

Key Features

• 12mm focal length with T2.2 maximum aperture for wide-angle cinema work
• Micro Four Thirds mount for MFT video bodies
• Manual focus with minimal focus breathing for stable frame composition
• Low-dispersion glass and high refractive index reduce color fringing
• Multilayer coatings minimize flare and ghosting with practical lighting
• Smooth circular bokeh rendering
• 77mm filter thread for standard matte box rings

FAQ

What focal length does this lens deliver on MFT bodies?

12mm, a genuinely wide perspective for environmental storytelling and tight interiors. On Micro Four Thirds, this focal length works for documentary run-and-gun and spatial narrative work.

Why does a cinema lens use T-stops instead of f-stops?

T-stops measure actual light transmission through the optical stack, accounting for glass and coatings. T2.2 means the exposure you set is the exposure you get, consistently across a matched set of cinema primes - critical when color-timing a scene shot with multiple lenses.

Does this lens have autofocus or electronic controls?

No. Manual focus only, no electronic communication with the camera body. That means no EXIF data and no electronic aperture control, but it trades automation for mechanical repeatability on manual iris.

What filter sizes work with this lens?

77mm. You can run standard matte box rings or drop-in ND filters without stepping rings.

How much does the image shift during focus pulls?

Focus breathing is minimal. Push-pull focus pulls won't shift your composition mid-shot, which matters for precise framing in narrative work.

What's the optical construction designed to handle?

Low-dispersion glass with high refractive index controls color fringing across the frame. Multilayer coatings reduce flare and ghosting when shooting into practical lights or windows. Low distortion at 12mm is engineered in, and the lens delivers smooth, circular out-of-focus rendering.