DZOFilm Vespid Prime2 105mm T1.9 PL Mount (VV/FF)

Industrial clients rarely let a film crew past the yellow safety line around a working press, and stopping production costs them money. The DZOFilm Vespid Prime2 105mm T1.9 PL Mount gets the close-up from behind that line while the press keeps running. Longest in the Vespid 2 range, it sees about 19.5° across a full-frame sensor: from five metres the frame spans roughly 1.7 m, an operator from the waist up, controls included. Wide open, about 25 cm of depth stays sharp, lifting the face off the machinery behind.

Welding flashes and work lights aimed at the lens test any coating. Here, multi-layer nano coatings over twelve elements in eight groups, DPR aspheres among them, hold contrast. Focus reaches 0.9 m from the sensor, floating elements correcting as it goes, and magnification there is 1:7.6, a 16:9 frame about 27 cm wide. Some 77 cm still separate glass and subject, room for a reflector while a contactless card taps a payment terminal in a fintech spot. Image size barely shifts during a rack. Recalibrated colour intercuts with the 18–85 mm, needing little matching in the grade.

On compatible ARRI, RED, Blackmagic, Sony and Canon cinema cameras, the PL contacts write Cooke /i values into the clip metadata: focal length, T-stop, focus distance. Telephoto plates expose small tracking errors, so the compositor starts from measured figures. The LEMO socket on the barrel handles firmware for now; DZOFilm has announced wireless follow-focus support through it. On a mirrorless body via an Octopus adapter, it works but sends no /i data. Canon RF shooters need Wooden Camera's PL-RF Pro, not Canon's adapter. KOOP rear filters are not supported. Across all six Vespid 2 primes the rig stays put: 0.8 MOD gears in identical positions, an 80 mm front, an M77 thread.

The AC gets 300° of focus travel with metric marks, while the ten-blade iris crosses T1.9–T22 in 65° on a linear scale. The 46.5 mm image circle clears the VistaVision diagonal, and the aluminium barrel, sealed at critical joints, wears a matte, low-reflection finish. Esports finals, executive interviews, automotive spots, music videos: this medium-telephoto cine prime pays its way on all four.