DZOFilm Gnosis Macro 65mm T2.8 LPL/PL & EF Mount (VV/FF)

Roughly 8 cm of clear space stays between the front glass and the subject when the DZOFilm Gnosis Macro 65mm T2.8 LPL/PL & EF Mount (VV/FF) reaches its closest focus. DZOFilm rates that point at 0.237 m from the sensor plane; mount and barrel fill most of it, yet the gap left is several times wider than on the 24 mm and 32 mm Gnosis. Image size there is 1.33:1, a third larger than life, so a full-frame sensor sees a field of about 27 × 18 mm. The 46.5 mm image circle also covers VistaVision.

That gap is the practical case for this focal length. A bounce card or a pocket LED fits in beside the lens, and the barrel shades the subject less than on the shorter macros. A sewing-machine needle punching through denim for a fashion label, or a bee working lavender for a nature series, can be lit from the front. Depth of field is about 0.6 mm at T8 near full magnification, so the 300° focus rotation breaks each pull into fine increments, whether a wireless follow focus drives it or a motion-control rig repeats the pass. Beside the focus ring, a small window shows magnification in red and, in green, the EXP correction the T-stop needs.

Eleven elements sit in eight groups behind a 16-blade iris that keeps defocused highlights round from T2.8 to T22. DZOFilm sets the 65 mm between the wider 32 mm and the more compressed 90 mm, with natural rendering; at infinity it frames about 31° horizontally on full frame. Breathing is present but modest, says a wildlife cameraman in a field review DZOFilm published.

Focus runs on to infinity, so with no macro work booked it serves as a regular 65 mm interview prime. This metric-scale version arrives on an LPL mount, with PL and EF bayonets, mounting hardware, shims and a hard case, ready for a PL-mount Blackmagic URSA Cine 12K LF. Matte box, filters and motors carry over between Gnosis focal lengths via the shared 114 mm front, M105 thread and 0.8 MOD gears. Only the iris differs, turning 67° here against 55° on the 32 mm, so motor end stops need recalibrating after a swap. Underneath, a 3/8"-16 threaded hole anchors a lens support. For a production company, this full-frame cinema macro lens rarely sits idle on the shelf.