Lens changes eat into a shooting day, and the standard focal length goes back on the camera most often. On the DZOFilm Vespid Prime2 50mm T1.9 PL Mount, the 0.8 MOD focus and iris gears sit exactly where they do on the 18, 24, 35, 85 and 105 mm; the 80 mm front takes the same matte box, the M77 thread the same filters, and all six lenses open to T1.9. Swap the 35 for the 50: no motor shuffling, no exposure change.
The Cooke /i link runs through the PL mount itself: compatible ARRI, RED, Blackmagic, Sony and Canon cinema cameras log focal length, T-stop and focus distance, data that follows each clip into edit, grade and VFX. Firmware loads through the LEMO port, which DZOFilm also reserves for future wireless follow focus. Mount options stop at PL, and Octopus adapters for E, RF, L and X bodies carry no lens data. Canon's own PL-to-RF adapter is reported not to clear the rear optics (Wooden Camera's PL-RF Pro does), and KOOP rear filters won't fit.
Twelve elements in nine groups pair DZOFilm's precision-polished aspheres with multi-layer nano coatings, while a floating group, moving with focus, protects sharpness right up to 0.5 m from the sensor, about 37 cm from the front. There, magnification reaches 1:8, enough for a hand sliding a bishop across a chessboard to fill the frame. In Keith Knittel's Sony FX6 tests, Vespid 2 edges sharpened by T2.8, where the first Vespids needed T4 or T5.6, and the 50 mm's off-axis bokeh cleaned up by T4. Colour sits a shade warmer than Gen 1; shadows read cleaner and highlights shoulder off more gently.
Coverage reaches VistaVision through a 46.5 mm image circle. On full frame the 50 sees nearly 40° across, giving natural proportions to a dialogue medium shot, a presenter-led online course or an employer-branding portrait. At T1.9 and 1.2 m, about 6 cm of depth holds the eyes while the ears fall away. In a stairwell under emergency lamps, T1.9 keeps gain in check. Metric focus marks spread over 300°; the ten-blade iris, scaled linearly, needs only 65° from T1.9 to T22. Sealed at critical joints and built in aluminium, this full-frame cine prime earns its keep on car spots, streaming drama and branded documentaries.
Lens changes eat into a shooting day, and the standard focal length goes back on the camera most often. On the DZOFilm Vespid Prime2 50mm T1.9 PL Mount, the 0.8 MOD focus and iris gears sit exactly where they do on the 18, 24, 35, 85 and 105 mm; the 80 mm front takes the same matte box, the M77 thread the same filters, and all six lenses open to T1.9. Swap the 35 for the 50: no motor shuffling, no exposure change.
The Cooke /i link runs through the PL mount itself: compatible ARRI, RED, Blackmagic, Sony and Canon cinema cameras log focal length, T-stop and focus distance, data that follows each clip into edit, grade and VFX. Firmware loads through the LEMO port, which DZOFilm also reserves for future wireless follow focus. Mount options stop at PL, and Octopus adapters for E, RF, L and X bodies carry no lens data. Canon's own PL-to-RF adapter is reported not to clear the rear optics (Wooden Camera's PL-RF Pro does), and KOOP rear filters won't fit.
Twelve elements in nine groups pair DZOFilm's precision-polished aspheres with multi-layer nano coatings, while a floating group, moving with focus, protects sharpness right up to 0.5 m from the sensor, about 37 cm from the front. There, magnification reaches 1:8, enough for a hand sliding a bishop across a chessboard to fill the frame. In Keith Knittel's Sony FX6 tests, Vespid 2 edges sharpened by T2.8, where the first Vespids needed T4 or T5.6, and the 50 mm's off-axis bokeh cleaned up by T4. Colour sits a shade warmer than Gen 1; shadows read cleaner and highlights shoulder off more gently.
Coverage reaches VistaVision through a 46.5 mm image circle. On full frame the 50 sees nearly 40° across, giving natural proportions to a dialogue medium shot, a presenter-led online course or an employer-branding portrait. At T1.9 and 1.2 m, about 6 cm of depth holds the eyes while the ears fall away. In a stairwell under emergency lamps, T1.9 keeps gain in check. Metric focus marks spread over 300°; the ten-blade iris, scaled linearly, needs only 65° from T1.9 to T22. Sealed at critical joints and built in aluminium, this full-frame cine prime earns its keep on car spots, streaming drama and branded documentaries.
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| Specification | |
|---|---|
| Focal Length | 50mm |
| Colour | Black |
| Mount | PL |
| Aperture | T1.9-T22 |
| Image Circle | ø46.5mm (VV/FF) |
| Max.Mag. Ratio | 1:5.5 |
| Construction of Optics | 12 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) | ≈836g |
Data sheet
Specific References
