In DZOFilm's five-, seven- and nine-lens Vespid Prime sets, the T2.1 range begins at 25 mm. That makes the DZOFilm Vespid Prime 25mm T2.1 PL Mount + EF (VV/FF) the widest lens in those kits to match the 35, 50 and 75 mm stop for stop, so cutting from the wide master to tighter coverage needs no exposure change. It also makes a sensible first purchase: own the 25 mm now, add focal lengths as contracts justify them, and the colour will still match.
A 46.5 mm image circle spans VistaVision and full-frame sensors: a Blackmagic URSA Cine 12K LF in PL or a Sony FX6 on an Octopus E adapter records edge to edge. On a Super 35 body such as the Canon EOS C300 Mark III, it frames roughly like a 35 mm on full frame. At 25 mm, faces at conversational distance keep believable proportions while the setting stays readable: a corporate film on a factory floor, a music video in a cramped rehearsal room, a presenter followed through an exhibition hall on a gimbal. Focus reaches 0.3 m from the sensor plane, enough to keep a sound engineer's hands on the desk sharp with the control room still legible behind.
The optical formula, 12 elements in 11 groups, is APO-corrected, so stage trusses and white lettering on dark set walls stay free of colour fringes. Breathing is minimal; a pull from presenter to product does not visibly reframe the shot. Coatings hold back veiling glare when a practical or stage light points into the lens. The look is a middle ground: clean detail without clinical edge, neutral colour for the grade, flattering on skin. With a 16-blade iris, an out-of-focus LED wall behind a keynote speaker dissolves into soft round discs.
The focus ring sweeps 270° and the iris ring 68° across T2.1–T22, both geared at 0.8 MOD (32 pitch) in identical positions across the line, so motors stay put. An 80 mm front diameter takes clamp-on matte boxes; the M77 thread accepts the screw-in VNDs many crews already own. It ships in PL with the EF mount included: a small hex key swaps them, and a back-focus check, with shims if needed, confirms the 52 or 44 mm flange depth. Octopus adapters (RF, E, L) and KOOP rear filters for PL are optional.
In DZOFilm's five-, seven- and nine-lens Vespid Prime sets, the T2.1 range begins at 25 mm. That makes the DZOFilm Vespid Prime 25mm T2.1 PL Mount + EF (VV/FF) the widest lens in those kits to match the 35, 50 and 75 mm stop for stop, so cutting from the wide master to tighter coverage needs no exposure change. It also makes a sensible first purchase: own the 25 mm now, add focal lengths as contracts justify them, and the colour will still match.
A 46.5 mm image circle spans VistaVision and full-frame sensors: a Blackmagic URSA Cine 12K LF in PL or a Sony FX6 on an Octopus E adapter records edge to edge. On a Super 35 body such as the Canon EOS C300 Mark III, it frames roughly like a 35 mm on full frame. At 25 mm, faces at conversational distance keep believable proportions while the setting stays readable: a corporate film on a factory floor, a music video in a cramped rehearsal room, a presenter followed through an exhibition hall on a gimbal. Focus reaches 0.3 m from the sensor plane, enough to keep a sound engineer's hands on the desk sharp with the control room still legible behind.
The optical formula, 12 elements in 11 groups, is APO-corrected, so stage trusses and white lettering on dark set walls stay free of colour fringes. Breathing is minimal; a pull from presenter to product does not visibly reframe the shot. Coatings hold back veiling glare when a practical or stage light points into the lens. The look is a middle ground: clean detail without clinical edge, neutral colour for the grade, flattering on skin. With a 16-blade iris, an out-of-focus LED wall behind a keynote speaker dissolves into soft round discs.
The focus ring sweeps 270° and the iris ring 68° across T2.1–T22, both geared at 0.8 MOD (32 pitch) in identical positions across the line, so motors stay put. An 80 mm front diameter takes clamp-on matte boxes; the M77 thread accepts the screw-in VNDs many crews already own. It ships in PL with the EF mount included: a small hex key swaps them, and a back-focus check, with shims if needed, confirms the 52 or 44 mm flange depth. Octopus adapters (RF, E, L) and KOOP rear filters for PL are optional.
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Focal Length 25mm
COLOUR Black
MOUNT PL / EF
T-STOP T2.1
IMAGE CIRCLE ∮46.5（VV/FF)
OPTICAL CONSTRUCTION 12 Elements in 11 Groups
FLANGE DISTANCE 52mm（PL)
"CLOSE FOCUS DIS. (FROM SENSOR PLANE) (METRIC/IMPERIAL)" 0.3m/1ft
MAGNIFICATION RATIO /
IRIS CONTROL Manual (rotation angle 68°)
FOCUS CONTROL Manual (rotation angle 270°)
FRONT DIA.(METRIC/IMPERIAL) ∮80mm/3.15"
LENGTH (METRIC/IMPERIAL) 100mm/3.94"
IRIS BLADE 16
FILTER SIZE M77
GEAR PITCH 0.8 Mod
MATERIAL Housing: Aluminum Alloy
WEIGHT ≈940g
Data sheet
Specific References
