Sony SP3 SP3 6-WAY
The six full-frame primes, ranging from 18mm to 100mm, all share a fast T2.4 aperture and consistent gear positioning to streamline gimbal and handheld work. User-changeable Sony E mounts and a compact 688g weight per lens add adaptability, while the optical design matches the vintage character of Cooke’s Panchro/i Classic series. This set is best for cinematographers and commercial shooters who need a portable, texture-rich prime kit for full-frame mirrorless video production.
About This Lens
The SP3 Full-Frame 6-Lens Prime Set from Cooke comprises 18, 25, 32, 50, 75, and 100mm lenses and a lens case. These full-frame primes feature a fast T2.4 maximum aperture, a compact, lightweight design, user-changeable mounts, and consistent gear placement across the series. Use these Sony E-mount SP3 lenses to bring the classic Cooke look to your cine-style gimbal, drone, or handheld mirrorless camera video capture.
- 18, 25, 32, 50, 75 & 100mm Prime Lenses
- Covers Full-Frame Sensors, T2.4 Aperture
- User-Changeable Mounts
- Matches Cooke Panchro/i Classic Lenses
The 30-Second Version
The Cooke SP3 kit bottles the classic cinema look in a modern, mirrorless-friendly set, but you'll pay a mortgage for six lenses that come up short in sharpness. If that soft, romantic character isn't in your creative brief, run away.
Overview
The Cooke SP3 6-lens kit is the purest way to strap the legendary "Cooke look" onto your Sony mirrorless camera without rummaging through eBay for vintage glass. It's a full set of cine primes covering 18mm to 100mm, all at a constant T2.4, in a lightweight, gimbal-friendly package. But here's the one thing to know: our optical benchmarks put these lenses in the 16th percentile overall. That's not a typo. They are built for character, not clinical perfection, and if you're chasing corners that could cut glass, you'll be disappointed.
Performance
What genuinely surprised us is how far the optical score dipped. When you hear "Cooke" and see a five-figure price, you expect sharpness that leaves no pixel unturned. Instead, our database shows resolution and contrast that land well behind even mid-range photo zooms. That's actually by design. These lenses share DNA with the classic Panchro/i series, so they render with a softer, more romantic roll-off and subtle flares. Our macro score hit the 93rd percentile though, so you can get surprisingly close, which is a nice bonus for detail shots.
Pros & Cons
Pros
- Iconic, buttery Cooke rendering you can't fake in post 95th
- Full set covers essential focal lengths with consistent gear placement 93th
- User-changeable mounts let you adapt to PL or other systems
- T2.4 constant aperture and a sturdy travel case included
Cons
- Optical sharpness is woefully behind modern cine competitors 16th
- No autofocus or stabilization, so rigging is mandatory 35th
- Eye-watering price tag that starts at $26,000
- Build and bokeh scores are merely average, not exceptional
Specifications
Full Specifications
Optics
| Type | prime |
| Focal Length Min | 18 |
| Focal Length Max | 100 |
Aperture
| Max Aperture | 16 |
| Min Aperture | 2.4 |
| Constant | Yes |
| Diaphragm Blades | 9 |
Build
| Mount | Sony E |
| Format | full-frame |
| Weight | 0.7 kg / 1.5 lbs |
| Filter Thread | 77 |
AF & Stabilization
| Stabilization | No |
Focus
| Min Focus Distance | 80 |
Value & Pricing
With prices ranging from $26,000 to nearly $36,000 across vendors, this is a luxury purchase that makes a Leica look like a bargain. We found the best deal at $26,000, but even then, you're paying a colossal premium for a specific vintage look. Unless you need that exact Cooke character for a paid gig, the value just isn't there. For the same money, you could buy a top-tier set of Sigma Cine FF primes and still have enough left over for a Sony Venice rental.
vs Competition
The most direct competition is the Sigma Cine FF High Speed Prime set. Those lenses are far sharper, brighter at T1.5, and cover similar focal lengths for about half the price. They lack the dreamy, soft-edged Cooke magic, though. If you need a more modern, technical image, the Zeiss CP.3 XD primes are another brutally sharp alternative. On the consumer side, the Canon RF-S 18-150mm zoom is a fraction of the price and walks all over the SP3s in optical benchmarks, but that's like comparing a golf cart to a classic roadster, totally different purpose.
| Spec | Sony SP3 SP3 6-WAY | Sigma Sports 70-200mm f/2.8 DG DN OS | Tamron Di III 28-75mm F/2.8 Di III VXD G2 | Meike Neo Series MK-5514STM-Z | Nikon NIKKOR Z 14-24mm f/2.8 S | Panasonic LUMIX S S-R28200 |
|---|---|---|---|---|---|---|
| Focal Length | 18-100mm | 70-200mm | 28-75mm | 55mm | 14-24mm | 28-200mm |
| Max Aperture | 16 | 2.8 | f/2.8 | f/1.4 | f/2.8 | f/4 |
| Mount | Sony E | Sony E | Nikon Z | Nikon Z | Nikon Z | L-Mount |
| Stabilization | false | true | false | true | true | true |
| Weather Sealed | false | true | true | false | true | true |
| Weight (g) | 688 | 176 | 550 | 280 | 649 | 413 |
| AF Type | - | HLA | VXD linear motor | STM | stepping motor | Autofocus |
| Lens Type | prime | telephoto | zoom | prime | wide-angle | macro |
| Compare | Compare | Compare | Compare | Compare |
| Product | Af | Bokeh | Build | Macro | Optical | Aperture | Versatility | Stabilization |
|---|---|---|---|---|---|---|---|---|
| Sony SP3 SP3 6-WAY | 53.3 | 39 | 35.1 | 93.1 | 15.9 | 42.7 | 94.9 | 34.5 |
| Sigma Sports 70-200mm f/2.8 DG DN OS Compare | 53.3 | 87.2 | 93.2 | 46.2 | 99.7 | 79.1 | 79.6 | 99.9 |
| Tamron Di III 28-75mm F/2.8 Di III VXD G2 Compare | 98 | 81.2 | 63.1 | 83.9 | 87.9 | 79.1 | 78.6 | 34.5 |
| Meike Neo Series MK-5514STM-Z Compare | 85.5 | 94.9 | 72.8 | 94.6 | 49.7 | 94.8 | 34 | 79.7 |
| Nikon NIKKOR Z 14-24mm f/2.8 S Compare | 85.5 | 81.2 | 55.5 | 97.6 | 82.5 | 79.1 | 69.2 | 79.7 |
| Panasonic LUMIX S S-R28200 Compare | 53.3 | 71.9 | 73.7 | 87.8 | 91.2 | 65.6 | 95.9 | 99.5 |
Common Questions
Q: Can I change the mount to use these on a PL camera?
Yep, that's one of the highlights. Cooke ships these with user-changeable mounts, so you can swap from Sony E to PL or other mounts without sending them in for service. It's a huge plus if you rent your kit out or jump between systems.
Q: How do they compare to the original Panchro/i Classics?
Think of the SP3s as the lighter, more compact grandchildren. They were designed for today's mirrorless cameras and gimbals, not heavy cinema rigs. The rendering is very similar, smooth, gentle contrast, with that distinct Cooke personality, but they're easier to balance on a drone.
Q: Is T2.4 fast enough for low light?
It's decent. T2.4 is only about a third of a stop slower than T2.2, so you can work in dim scenes without cranking ISO too much. But remember, there's no stabilization, so you'll need a tripod or gimbal for clean shots at night.
Who Should Skip This
If you're looking for razor-sharp, technically flawless images that hold up to pixel-peeping, this is the wrong lens set. You'd be far better served by the Sigma Cine FF primes or even a set of Zeiss Otus stills lenses. Those deliver cutting-edge optical performance without the price tag of a small car.
Verdict
For a very specific filmmaker chasing the Cooke look on a gimbal or drone, this kit is a one-stop dream. For literally everyone else, it's a financial black hole with image quality that our tests found shockingly soft. Rent before you buy, and only commit if you've built a career around that vintage rendering.