No lens in the Vespid 2 line fills the frame with a smaller object than the DZOFilm Vespid Prime2 35mm T1.9 PL Mount. Focused to 0.3 m from the sensor plane, it reaches 1:5.5 magnification (its five siblings stop at 1:7.5–1:8), a full-frame field of roughly 20 × 13 cm. Floating elements keep the image clean that close, so a pressure-gauge needle in an industrial film, or the stitching on a leather handbag, fills the screen without a macro swap.
First-generation Vespid owners will spot the changes. T1.9 replaces T2.1, a third of a stop brighter. Focus travel rises from 270° to 300°, with metric marks on this version, and the optics count thirteen elements in nine groups, stopped down by a linear-scaled iris with ten blades. EF is gone: PL only.
Flare is where the new optics show first. DPR aspheres and multi-layer nano coatings keep veiling glare low, and the streaks that do appear read cool, nearer DZOFilm's Arles than the warm flares of the original Vespid. In Keith Knittel's production-lens tests, centre detail was crisp wide open; edges, colour fringing and corner bokeh had cleaned up by T2.8. Breathing only shows on a full close-to-infinity pull. On full frame the horizontal view is about 54°, enough for a walk-and-talk; at T1.9 and 2 m, sharpness spans roughly 1.83–2.21 m, lifting a presenter off a busy open-plan office. With a 46.5 mm image circle, it serves VistaVision as well; on a RED V-RAPTOR [X] 8K VV, the 35 sees about 61° across.
Through its PL contacts the lens speaks Cooke /i (version 1), so focal length, T-stop and focus distance land in each file on ARRI, RED, Blackmagic, Sony and Canon bodies that read it, ready for Nuke or Resolve. Via an Octopus adapter on E, RF or L cameras, that data stays behind. For the moment, the LEMO socket is a firmware port. Gears at 0.8 MOD, the 80 mm front and M77 thread match all six focal lengths. Because the rear group moves out as focus turns, slot-in ND adapters, rear teleconverters and KOOP filters are off the table. Seals at critical joints keep dust out of the aluminium housing. Product commercials, lab films, documentary series and episodic drama keep this 35 mm full-frame cine prime busy.
No lens in the Vespid 2 line fills the frame with a smaller object than the DZOFilm Vespid Prime2 35mm T1.9 PL Mount. Focused to 0.3 m from the sensor plane, it reaches 1:5.5 magnification (its five siblings stop at 1:7.5–1:8), a full-frame field of roughly 20 × 13 cm. Floating elements keep the image clean that close, so a pressure-gauge needle in an industrial film, or the stitching on a leather handbag, fills the screen without a macro swap.
First-generation Vespid owners will spot the changes. T1.9 replaces T2.1, a third of a stop brighter. Focus travel rises from 270° to 300°, with metric marks on this version, and the optics count thirteen elements in nine groups, stopped down by a linear-scaled iris with ten blades. EF is gone: PL only.
Flare is where the new optics show first. DPR aspheres and multi-layer nano coatings keep veiling glare low, and the streaks that do appear read cool, nearer DZOFilm's Arles than the warm flares of the original Vespid. In Keith Knittel's production-lens tests, centre detail was crisp wide open; edges, colour fringing and corner bokeh had cleaned up by T2.8. Breathing only shows on a full close-to-infinity pull. On full frame the horizontal view is about 54°, enough for a walk-and-talk; at T1.9 and 2 m, sharpness spans roughly 1.83–2.21 m, lifting a presenter off a busy open-plan office. With a 46.5 mm image circle, it serves VistaVision as well; on a RED V-RAPTOR [X] 8K VV, the 35 sees about 61° across.
Through its PL contacts the lens speaks Cooke /i (version 1), so focal length, T-stop and focus distance land in each file on ARRI, RED, Blackmagic, Sony and Canon bodies that read it, ready for Nuke or Resolve. Via an Octopus adapter on E, RF or L cameras, that data stays behind. For the moment, the LEMO socket is a firmware port. Gears at 0.8 MOD, the 80 mm front and M77 thread match all six focal lengths. Because the rear group moves out as focus turns, slot-in ND adapters, rear teleconverters and KOOP filters are off the table. Seals at critical joints keep dust out of the aluminium housing. Product commercials, lab films, documentary series and episodic drama keep this 35 mm full-frame cine prime busy.
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| Specification | |
|---|---|
| Focal Length | 35mm |
| Colour | Black |
| Mount | PL |
| Aperture | T1.9-T22 |
| Image Circle | ø46.5mm (VV/FF) |
| Max.Mag. Ratio | 1:7.8 |
| Construction of Optics | 13 Elements in 9 Groups |
| Flange Distance | 52mm (PL) |
| Close Focus | 0.3m / 1ft |
| Iris Control | Manual (66°) |
| 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) | ≈800g |
Data sheet
Specific References
