DZOFilm Gnosis Macro 32mm T2.8 LPL/PL & EF Mount (VV/FF)

The focus scale of the DZOFilm Gnosis Macro 32mm T2.8 LPL/PL & EF Mount (VV/FF) reports more than distance. Near minimum focus it also gives the magnification ratio and an exposure value to add to the T-stop, so light loss is read off the lens itself. At the end of travel, 0.167 m from the sensor plane, that ratio reaches 1:1 life-size reproduction, and the 46.5 mm image circle covers full-frame and VistaVision sensors.

At 1:1 the full-frame field measures 36 × 24 mm, the size of a 35 mm still negative, so one archive frame fills the shot for a documentary. The view stays close to a standard wide, about 59° horizontally, and racking back a few decimetres brings the archivist's gloved hands into the same take. Bright edges on black are the usual test for colour fringing; low-dispersion and high-index glass in the eleven-element, nine-group formula keeps it in check, and 16 iris blades hold out-of-focus points circular.

Space runs out at that ratio. Roughly 11 mm separate the lens front from the subject at closest focus, so a clip-on matte box reaches past the plane of focus and an ND or diopter belongs in the M105 filter thread. The barrel shades front light; low side light does the work. Stopped to T5.6, sharpness at 1:1 is about 0.7 mm deep; T11 roughly doubles it. A natural-history cameraman who tested the Gnosis macro set for DZOFilm works at T5.6–T8 up close and notes some breathing on long racks. Most of the 300° focus rotation is spent inside the first metre. Iris travel from T2.8 to T22 takes just 55°, the shortest in the Gnosis range.

Out of the case it wears an LPL mount and a metric scale. PL and EF bayonets, their hardware and a set of shims are packed alongside, so the lens can sit on an ARRI ALEXA Mini LF one day and an EF body the next. DZOFilm's manual sets out a flange-back check at 0.33 m with graded shim values, keeping swap checks in-house. On rods, a support in the 3/8"-16 thread takes strain off the mount. The 114 mm front and 0.8 MOD gearing repeat across the Gnosis 24, 65 and 90 mm, leaving motors and matte box untouched. For a production house, owning this full-frame cine macro lens means fewer specialist rentals on insert days.