DZOFilm Vespid Prime 75mm T2.1 PL Mount + EF (VV/FF)

Move the camera back, hold the same close-up, and a face changes: the nose sits smaller, the ears return, the background grows behind the head. The DZOFilm Vespid Prime 75mm T2.1 PL Mount + EF (VV/FF) puts that effect to work. For identical framing it places the lens half again as far from the subject as a 50 mm, giving an interviewee breathing room and keeping the operator out of a performer's eyeline.

Distance brings a thin focal plane. Focused at 2 m on full frame and wide open, less than 10 cm of depth stays acceptably sharp. A 270° focus rotation gives fine control over that slice, and the iris crosses T2.1–T22 in 68°. Gear rings (0.8 MOD) line up with those of the 50 and 100 mm Vespids, so motor brackets stay set. Breathing is low: rack from a violinist's face to her bow hand and the frame size holds. Minimum focus, 0.6 m from the sensor plane, fits an earring and the jawline into one beauty close-up.

Apochromatic correction across a nine-element, seven-group formula keeps colour fringes faint on backlit hair and the bell of a trumpet. The rendering sits on the gentle side of sharp, holding pores and fine hair without harshness, and colour grades from the same baseline as every other Vespid Prime, so tight and wide angles cut together cleanly. A 16-blade iris holds defocused highlights circular through the middle stops; stadium floodlights behind a coach at pitch-side melt into clean circles. Matte boxes clamp onto the 80 mm front, and the M77 thread takes screw-in diffusion for softer portraits.

Sensors up to VistaVision sit inside its 46.5 mm image circle, so a Sony VENICE 2 records its full 8.6K frame through the PL mount. Crop to Super 35 and the angle narrows to that of a 100–110 mm lens on full frame. That coverage protects the investment: a production house still on Super 35 keeps the lens after moving to bigger sensors. Two mounts travel with it, PL fitted at the factory and Canon EF, with shims to reset flange depth; DZOFilm's Octopus adapters convert it for E, RF, L and X cameras. This entirely mechanical full-frame cine prime earns its place on two-camera corporate interviews, concert multicam, theatre recordings and portrait-led commercials.