Thanks neuro, that´s sad I thought it might have a higher optical quality and deliver a higher resolution with a nice low DOF .
Most of what you're paying for is lack of focus breathing, accurately calibrated focus markings, excellent internal gearing, and standardized build/size and transmission across the line (e.g., so T/3.2 gives identical exposure with any cine lens). In short, benefits for shooting a production film.
Having to meet all these extra demands to me implies that -despite the premium price-, optical quality may be compromised a little if you look at the needs of a stills photographer. After all in any design, trade offs have to be made between different functionalities, there is no one tool that does it all perfectly.
Of course this is personal interpretation. I haven't physically seen let alone held a CN-E lens, but my guess is if you're fanatical about canon and cinema, this is obviously the way to go (and don't forget to bring a big pile of $$$).
5D3, 5D2, Sony α6000, S90 | SY14 f/2.8, Ʃ20 f/1.8, 24 f/2.8, 35 f/2, Ʃ35 f/1.4A, 50 f/1.8 I, Ʃ50 f/1.4 EX, 100L Macro, 17-40L, 24-105L, 70-200 f/2.8L IS II, 1.4x II, 70-300L, 100-400L | E-mount: SY12 f/2, Ʃ19 & 30 f/2.8 EX DN, 16-70 ZA OSS, 55-210 OSS, Metabones SB | FT-QL, AE-1P | FD(n) & FL lenses