Inside the DZOFilm Vespid Prime2 24mm T1.9 PL Mount, fourteen elements sit in thirteen groups, and some of them float, shifting as focus turns to hold correction down to 0.3 m from the sensor. Precision-ground aspheres and layered nano coatings tame flare from a window or stage lamp in frame. Sharpness holds into the corners, colour fringing barely registers, and breathing is negligible. Retuned colour gives cleaner blacks, highlights that ease into white and natural skin.
Marks on the metric scale spread across a 300° focus rotation, versus 270° on the first Vespids. The ten-blade iris covers T1.9–T22 in 66° on a linear scale, roughly 9° per stop, so a lens motor rides exposure evenly. Every Vespid 2 prime places its 0.8 MOD gears identically and carries the same 80 mm front with M77 thread: motors, matte box and filters keep their place through a lens swap.
Through pins in the PL mount, the lens hands Cooke /i metadata (focal length, T-stop, focus distance) to compatible ARRI, RED, Blackmagic, Sony and Canon cinema cameras, sparing VFX teams manual lens logs. A side LEMO socket takes firmware updates now, with wireless lens control announced. No EF version exists; Octopus adapters, or the NiSi PL-Z unit CineD used on a Nikon ZR, suit mirrorless bodies, minus the data link. The rear group protrudes as focus moves, so Canon's own PL-RF adapter can touch it; drop-in ND adapters and rear filters are ruled out.
A 46.5 mm image circle covers full frame and VistaVision. DZOFilm says it often reaches a Blackmagic URSA Cine 17K 65 too, where it frames like a 17 mm on full frame; check corners in prep. At T1.9, barrel rows in a wine cellar lit by a few practicals stay workable, and door frames on a property tour need little straightening in post. At minimum focus, a mechanic's torque wrench fills the foreground, the pit crew still recognisable behind; on a gimbal, T5.6 with focus near 3.4 m keeps roughly 1.7 m to infinity sharp. The aluminium housing resists dust and weather at its critical seals. Commercials, TV drama, documentary and corporate films are home ground for this full-frame cine lens, and the Vespid 2 line earned a CineD Best of Show award at IBC 2025.
Inside the DZOFilm Vespid Prime2 24mm T1.9 PL Mount, fourteen elements sit in thirteen groups, and some of them float, shifting as focus turns to hold correction down to 0.3 m from the sensor. Precision-ground aspheres and layered nano coatings tame flare from a window or stage lamp in frame. Sharpness holds into the corners, colour fringing barely registers, and breathing is negligible. Retuned colour gives cleaner blacks, highlights that ease into white and natural skin.
Marks on the metric scale spread across a 300° focus rotation, versus 270° on the first Vespids. The ten-blade iris covers T1.9–T22 in 66° on a linear scale, roughly 9° per stop, so a lens motor rides exposure evenly. Every Vespid 2 prime places its 0.8 MOD gears identically and carries the same 80 mm front with M77 thread: motors, matte box and filters keep their place through a lens swap.
Through pins in the PL mount, the lens hands Cooke /i metadata (focal length, T-stop, focus distance) to compatible ARRI, RED, Blackmagic, Sony and Canon cinema cameras, sparing VFX teams manual lens logs. A side LEMO socket takes firmware updates now, with wireless lens control announced. No EF version exists; Octopus adapters, or the NiSi PL-Z unit CineD used on a Nikon ZR, suit mirrorless bodies, minus the data link. The rear group protrudes as focus moves, so Canon's own PL-RF adapter can touch it; drop-in ND adapters and rear filters are ruled out.
A 46.5 mm image circle covers full frame and VistaVision. DZOFilm says it often reaches a Blackmagic URSA Cine 17K 65 too, where it frames like a 17 mm on full frame; check corners in prep. At T1.9, barrel rows in a wine cellar lit by a few practicals stay workable, and door frames on a property tour need little straightening in post. At minimum focus, a mechanic's torque wrench fills the foreground, the pit crew still recognisable behind; on a gimbal, T5.6 with focus near 3.4 m keeps roughly 1.7 m to infinity sharp. The aluminium housing resists dust and weather at its critical seals. Commercials, TV drama, documentary and corporate films are home ground for this full-frame cine lens, and the Vespid 2 line earned a CineD Best of Show award at IBC 2025.
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| Specification | |
|---|---|
| Focal Length | 24mm |
| Colour | Black |
| Mount | PL |
| Aperture | T1.9-T22 |
| Image Circle | ø46.5mm (VV/FF) |
| Max.Mag. Ratio | 1:8 |
| Construction of Optics | 14 Elements in 13 Groups |
| Flange Distance | 52mm (PL) |
| Close Focus | 0.3m / 1ft |
| Iris Control | Manual (68°) |
| Focus Control | Manual (300°) |
| Front Dia. | ø80mm / 3.15" |
| Length | 80mm / 3.15” (PL) |
| Iris Blade | 10 |
| Filter Size | M77 |
| Gear Pitch | 0.8 Mod |
| Weight (Product) | ≈776g |
Data sheet
Specific References
