At closest focus, the 32 mm in the DZOFilm Gnosis Macro 3-Lens Kit (Macro 32/65/90 T2.8) LPL/PL & EF Mount works roughly a centimetre from its subject, the 65 mm about 8 cm away and the 90 mm close to 10 cm. Those gaps follow from close focus at 0.167, 0.237 and 0.258 m from the sensor plane, where the primes reach 1:1 to 1.5:1 magnification. Full frame and VistaVision both fit the 46.5 mm image circle; scales are metric.
Clearance, more than focal length, decides which lens takes which shot. On a drinks commercial, the 32 mm frames an embossed label at true size with the bar hinted at behind; its wide barrel shadows the subject, so lamps sit low at the side. With the 65 mm, a strip LED fits between lens and bottle to rake across condensation. Furthest back, the 90 mm isolates bubbles in tonic against a compressed background. Food, skincare and pack shots split the same way. Ben Tutton, a wildlife cameraman on the BBC's Green Planet, reviewed the trio for DZOFilm: best within about 1.5 m of the subject, he says, with faintly purple, milky flares kept in check.
The 32 and 90 mm share an eleven-element, nine-group formula; the 65 mm groups its eleven in eight, and every lens has 16 iris blades, T2.8 to T22. Near 1.5:1, depth of field at T5.6 is under half a millimetre, hence the 300° focus throw on all three. Exposure correction is read, not calculated: green EXP digits by the focus ring give the offset, red ones the ratio. The 32 mm turns its iris through 55°, the longer pair through 67° and 68°, so a motor mapped on the 65 mm moves to the 90 mm almost untouched.
Each lens arrives on its native LPL mount (44 mm flange) with its own PL (52 mm) and EF (44 mm) bayonets, hardware and shims, in a foam-lined hard case. The kit follows the camera each job is booked on, from an ARRI LPL body to a PL or EF Blackmagic PYXIS 6K; the manual's per-lens shim table, star chart and focus-ring gauge keep scales true after a swap. One 114 mm clip-on matte box and M105 filters fit all three, gears are 0.8 MOD, and a 3/8"-16 socket takes a 19 mm rod support. Weighed against the 24/32/65 kit, this cine macro lens set trades wide-angle context for reach and room to light.
Instead of €9,570.00
At closest focus, the 32 mm in the DZOFilm Gnosis Macro 3-Lens Kit (Macro 32/65/90 T2.8) LPL/PL & EF Mount works roughly a centimetre from its subject, the 65 mm about 8 cm away and the 90 mm close to 10 cm. Those gaps follow from close focus at 0.167, 0.237 and 0.258 m from the sensor plane, where the primes reach 1:1 to 1.5:1 magnification. Full frame and VistaVision both fit the 46.5 mm image circle; scales are metric.
Clearance, more than focal length, decides which lens takes which shot. On a drinks commercial, the 32 mm frames an embossed label at true size with the bar hinted at behind; its wide barrel shadows the subject, so lamps sit low at the side. With the 65 mm, a strip LED fits between lens and bottle to rake across condensation. Furthest back, the 90 mm isolates bubbles in tonic against a compressed background. Food, skincare and pack shots split the same way. Ben Tutton, a wildlife cameraman on the BBC's Green Planet, reviewed the trio for DZOFilm: best within about 1.5 m of the subject, he says, with faintly purple, milky flares kept in check.
The 32 and 90 mm share an eleven-element, nine-group formula; the 65 mm groups its eleven in eight, and every lens has 16 iris blades, T2.8 to T22. Near 1.5:1, depth of field at T5.6 is under half a millimetre, hence the 300° focus throw on all three. Exposure correction is read, not calculated: green EXP digits by the focus ring give the offset, red ones the ratio. The 32 mm turns its iris through 55°, the longer pair through 67° and 68°, so a motor mapped on the 65 mm moves to the 90 mm almost untouched.
Each lens arrives on its native LPL mount (44 mm flange) with its own PL (52 mm) and EF (44 mm) bayonets, hardware and shims, in a foam-lined hard case. The kit follows the camera each job is booked on, from an ARRI LPL body to a PL or EF Blackmagic PYXIS 6K; the manual's per-lens shim table, star chart and focus-ring gauge keep scales true after a swap. One 114 mm clip-on matte box and M105 filters fit all three, gears are 0.8 MOD, and a 3/8"-16 socket takes a 19 mm rod support. Weighed against the 24/32/65 kit, this cine macro lens set trades wide-angle context for reach and room to light.
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| Specification | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| Focal Length | 32mm | 65mm | 90mm | ||||||
| Colour | BLACK | ||||||||
| Mount | PL | EF | LPL | PL | EF | LPL | PL | EF | LPL |
| T-Stop | T2.8-T22 | ||||||||
| Image Circle | ø46.5mm (VV/FF) | ||||||||
| Optical Construction | 11 Elements in 9 Groups | 11 Elements in 8 Groups | 11 Elements in 9 Groups | ||||||
| Flange Distance | 52mm (PL) | 44mm (EF / LPL) | 52mm (PL) | 44mm (EF / LPL) | 52mm (PL) | 44mm (EF / LPL) | |||
| Close Focus (from sensor plane) | 0.167m/6.6in | 0.237m/9.36in | 0.258m/10.2in | ||||||
| Magnification Ratio | 1.0X | 1.33X | 1.5X | ||||||
| Iris Control | Manual (rotation angle 55°) | Manual (rotation angle 67°) | Manual (rotation angle 68°) | ||||||
| Focus Control | Manual (300°) | ||||||||
| Front Dia. | ø114mm | ||||||||
| Length | 112mm | ||||||||
| Iris Blade | 16 | ||||||||
| Filter Size | M105 | ||||||||
| Gear Pitch | 0.8M | ||||||||
| Material | Aluminum Alloy | ||||||||
Data sheet
Specific References
