The tests in the bedroom are without, but yeah realised that after I posted. Unfortunately most of the footage is from professional projects so that's the style they were shot in.
Thanks for this, been watching a lot of DZO content and this was actually helpful and added to what I already knew. Tell me about the noise you're getting in a lot of these shots. Usually people don't include that sort of thing but I find it helpful and I think it looks spectacular. Did you add it or were you just shooting against ISO? Thanks mate -
I'm glad! Yes I add grain to my footage, I like the texture, I like to lean into dirtier / grungier looks! Although this is an older vid, I'm still loving my Vespids very much.
What u need to know is, our generation, our digital generation wih dzo and Blackmagic and all this thinks creates a new ara of look. We want to simulate the Analog look, with filter and grading and we do good, but the result of these is, we create our own space of look for the future. In 20 years, people want to simulate this look too, simulate the super35 digital analog look etc.. think in that way
Yeah I guess we emulate the dominant format of the time, the thing that defines the documentation of a time period. So I recon in the future it may be mobile phone footage we try to emulate!
Solid review. I own two of the lenses (35,50) and very happy with them so far. Next one is the 90mm on my list. Do you think the 90 would work on interviews too?
Yeah for sure, it behaves a little differently in terms of close focus and magnification, also is a bit slower (T2.8) but yeah no reason why you couldn't shoot a talking head with it. It's a fun and very versatile lens to have and I rarely use the 100 / 125.
Thanks Brandon, yes that's the plan, am shooting the next couple of vids this week. Will be releasing as quickly as I can fit stuff in! Aim is to get to one a week eventually, but not quite there yet. Anything you're interested in seeing / me covering?
Great review. Your work is stunning btw. I'm an EVA shooter looking to move on from my sigma art series to cine lenses and was thinking about the 25 over the 35. Is there a reason you found yourself using the 35 more than the 25? Also, wasnt considerin the 90 at all till I saw this now I think I'm gonna have to add it to the list.
Thanks! I think for professional work, for two cam interview set-ups it's often the 35, 50 and 75 that get used across my two cams. Usually a 50 or 75 on the EVA and the 35 on the S5 (I like to have my EVA on the close up shot) - I do use the 25 but for observational, handheld work - it's often the 35, 50 and 75 that are being rotated, but I think I also preference tighter shots generally when I'm shooting people. The macro is a lot of fun, it just opens up an extra type of shot in sequences - I love having it!
Am considering these so this was a great video and lovely footage also. Do you feel the need to add a pro mist to these lenses most of the time to soften and add even more character? Am currently using sigma 18-35 with a pro mist 1/4 on most of the time to soften
I used to just always slap in on, but since moving to the Komodo I shoot less with the pro mist now. But if I want it to look extra organic and grungey then I'll add one on
I've shot corporate with old Tokina AT-X lenses from the 80s. So I think the Vespids are no problem with that. I'm looking to "upgrade" and have a really sharp pro kit. I've thought about Vespids for quite awhile now but I think im going to get Sigma FF Primes. 4 times the cost though :/ Soooo, I'm still a little divided.
Yeah I think you can shoot corporate work on them and vintage glass. I guess I should have said "commercial" work, where the look of Vespids might not always be in demand, depending on the type of production. I honestly think the Vespids are very sharp, it's just if you want that ultra modern sharpness of the Sigmas, then yeah there's the price to go with them, but if you can pay them off they'd be a good investment. The Sigmas are a lot larger and heavier as well!
@@EdProsser For shure. Alot sees sharpness as the pinnacle of quality but I differ. When I get the chans to try the Vespids I will! Or maybe get one of them to try out and see if I'm hooked. :) Thanks for the video! Great pictures 👌
Thanks Ade! To be honest all the footage featured is from a bunch of diff projects graded in diff ways, some using looks / grain from FilmConvert, some using Resolve grain and then one or two which make use of the FilmVision power grade + LUT from serr (google it - it's ace!)
@@EdProsser Thank you so much! Seems like I am going to be forced to color grading on Davinci it looks like BUT I'm up for the challenge! Really love your work man, I'll be following you from now on 🫂
Thank dude appreciate it! A few of the projects are also just simply graded in FCPX using FilmConvert at the end finish stuff up - add grain and push towards a film look. Also I only started on Resolve at the start of year, once you get over the scary look of stuff, it's great! It can be as simple or as complex as you need it to be.
I've been lusting for a set of Vespids, and now that they have the 21mm and 40mm, I'm thinking about those two with the 90mm macro. Previously I would have gone with 25, 50 and 75 or 90. I shoot on similar cameras (EVA1 and S1H), and think the 21, 40 and 90 will be a nice range. Your thoughts?
Hey David! For me 21, 40 and 75 are my main choices occasionally use 90 when I need macro details or 125 for tighter interview shots. Obviously my choices change from project to project but if I could only carry 3 I'd go 21 & 40 and probably 75 or 125.
@@EdProsser Thanks for the reply. Do you think a 75 is more flexible than a 90 macro? The range is very close for interviews. I'm fascinated by the macro capability, but as I haven't used one I am wondering if it's a one trick pony.
@@davidp158 it's not a one trick pony but it has slightly different behaviour than the others. It's definitely more niche. I find the 75 is very versatile between FF and S35 and prefer if more and it's probably the limit at which I can shoot handheld (un-stabilised).
Have been watching a lot of videos on these primes and yours is fantastic! Love all the footage and your shooting style. I currently shoot with the Sony A7SIII and the only lens I currently have is a 24-70 sigma. Been wanting to add a prime lens to my bag and since I want to step away from autofocus these look like a great option. The work I'll be doing is interviews, Branding Videos, and then B-Roll and general purpose use. I can't decide if I should go for the 35mm, 40mm, 50mm, or 75mm. I hopefully add another one to my kit in the future but for now can only afford one. Which would you say is the best all arounder? Would really appreciate your input!
Really depends on what kind of look you want. Shoot with your 24-70 and see where you keep your zoom at if it is mostly at 50mm then get a 50, if it is at 39 then get 40 etc.
For me personally; if I can only use one prime lens … 40mm or even 35mm … if I could have 2, I stay on a 24mm & 50mm 80% of the time … so if I could only shoot on one prime for the rest of my life I really think 35mm or 40mm is the sweet spot
Hey Ed 👋 your video was very informative, I have a question for you, I have the blackmagic 6k pro, and I'm planning to buy the dzofilm 25 mm, but I'm not sure if this lens covers the whole camera sensor, I saw the 21mm and 25mm , I do like the aspect of the 25mm, which one do you recommend me to buy , ? I'm pretty new to this camera and lens world 🌎 hahaha
The Vespids will cover vista vision so just wider than full frame, I believe the 6k pro is S35 so you should be fine. In terms of the focal lengths it's super personal preference, as the 6k pro is a cropped sensor the lenses will be more like a 30 and 36mm. For me the 25mm is a pretty solid lens on a cropped sensor.
Super informative. Thank you! I am looking to purchase my next lens. I was looking for a lens to pair with my Sigma 18-35mm but when you compared the look. The chromatic aberration on the Vespid won't match as well with the Sigma 18-35mm. Do you recommend pairing the Sigma 18-35mm with the Vespid or is there another lens you would pair with the Sigma 18-35mm? I am shooting with the BMPCC4K.
I think if you want to pair something with the sigma, look at other sigma lenses? They do cine versions which look the same as the stills versions. The Tokina cine lenses are probably worth a look at, they're very sharp and modern looking too. The Vespids do look diff different but it depends what you shoot, and how accurate you want your footage to look shot to shot.
@@EdProsser Thanks but the cine lens are a out of my price range. The Tokina's have a bit of a green tint to them as well. I'm looking for something more budget friendly. I prefer my next purchase to be a cine lens but it seems there are not a lot of good options under $2000.
@@filmspotzshorts I think the Vespids are am excellent choice, they're very sharp and CA isn't necessarily a negative thing. If you like the cleaner / neutral look of Sigmas you could also look at offerings from Xeen. Or Zeis Milvus lenses and cine mod them
Hi Ed, I've decided to shoot no budget guerilla style feature film. I'm a writer/director, not a DP, but I've decided to shoot it myself (due to money issues) on a Blackmagic Ursa Mini 4.6 pro (1st generation), entirely on a gimbal, using a Vespid 21mm. I tend to like directors who use wides and deep focus (The Coen Brothers, Guillermo del Toro, Jean-Pierre Jeunet, Terry Gilliam, etc.). With this in mind can I ask two quick questions. With the crop factor, will the images actually look like 21mm? Or should I go for the 16mm instead? And secondly, am I likely to get much distortion on either lens? I don't mind weird faces staring right into the lens, but don't want every vertical line to bend. Any advice would be very much appreciated. 16mm or 21mm? Many thanks, David.
Go with 16mm as on the S35 crop it'll be around 22, depending on the amount of crop on the camera. In terms of distortion on the 16mm, when shooting on S35 there isn't too much but there will be some at the edges, but you'll be shooting from the centre of the lens. My advice for any big project you're committing yourself to - definitely do a day or two of testing if you're unfamiliar with the gear
Im thinking about purchasing a pair for my Komodo, I’m currently an anamorphic shooter but I love the look and in need of variation, what 2 focal lengths would you recommend? I’m thinking about the 40mm & 75mm, your thoughts?
I think 40 and 75 would be a good pair but so long as you don't need to go wider on the S35 sensor of Komodo, depends what you shoot! I just shot a short piece (coming soon) with the 21 and 40, thought they were a really great pair for doc production. 21 as a great follow / walk around lens then the 40 for interview and details. 50 would also be good.
@@EdProsser i plan on using a speedbooster, I’ve been looking everywhere for the Vespid 40mm EF but it’s all sold out and back ordered, wish i could order them directly from DZOFILM, do you know any place that has then in stock?
@@CP-CINEMA from what I've read all the Vespids now ship as PL / EF mount - as in you get both mounts with each lens and you can change yourself. Deffo worth checking with the retailer, but I think that's what they're doing going forward. Also it think DZOFilm also sell direct to consumer? I guess depends where you are. Also 40mm only just announced a month ago so it might not be shipping yet?
Hey just wondering what your opinion is on which lens I should get if I already have a 35mm. I thought about getting the 75 but the macro aspect of the 90mm would be very nice to have :)
50 or 75 seems like a good bet, but the macro is also an awesome lens - it's a bit niche - so maybe that's the third one to get. As always, depends what you shoot on and what sized sensor. If you can punch in on the 35, maybe skip the 50 and go 75?
@@EdProsser yeah that was my thought as well. Skip 50 and get 75 but the macro part on the 90 would be nice to have for some stuff ! A bit of a pickle haha thank you for your reply tho. Love the images your getting put of the s5 and the 1/8 pro mist. I have those two as well
@@Spinning_jewels good luck with the decision! The S5 is such a great camera for the price, totally underated and overlooked by many I think. I might work up a little review of it!
What’s the point to own a 100mm when you have the 90 and the 125 ? Just to understand. Btw i’m working with my dzo on a medium format fuji gfx100s and it’s stunning !
90 is a macro so it behaves a little differently to the other lenses (and it's T2.8) so if you take that out of the equation, the step up from 75 to 100 to 125 is a good range of focal lengths.
@@EdProsser It's a 90mm (the macro doesn't change the render) and between T2.1 and T2.9 it's really nothing. But anyway, good that you have all these lenses, for me I prefer having more distance between my lenses to be less distracted by the choice and be focus on the story.
I am thinking about replacing my Rokinon DS primes with the Vespids, and hope to find a set to rent. I shoot with the EVA1 and S1H cameras, so I’m curious which mount and adapter you use, and if you had to shim any of the lenses. That’s more of an issue with zooms, of course.
Mine are all EF, so an easy dumb adapter for the LUMIX S5 L mount and similar for Komodo Rf mount - also use them with the canon EF to rf speedbooster with decent results. I believe DZOFilm changed the way they deliver their lenses, I think they all come in PL mount as standard now but all come with an interchangeable EF mountnin the box The process to change them looks pretty simple - I'd definitely check this though, as it may depend where you buy them from.
@@EdProsser Thanks for the reply. So, no focus issues when switching from your EVA1 to S1 (S5?) camera? A colleague has the DZOfilm Pictor zooms, and had to shim the EF adapter to get infinity focus dialed in.
@@davidp158 as I understand to get the parfocal ability on those they must be shimmed specific to your camera. I've read lots of stuff about them but never used them to be honest. I've never noticed any major issue switch the Vespids - but haven't done technical tests with them.
Both excellent choices, Athena's can't be speedboosted or used with VND adapters as I believe they have a moving rear element, so perhaps less versatile. The Athena's have a slightly cleaner smoother look from what I've seen, similar to that of the Sigma art primes. They look like excellent value. Still love my Vespids!
@@EdProsser Yeah I saw on CVP that the rear element moves (CVP reviews are amazing). Kinda scared to get the Vespid because there is this notion that they're too soft and I dread that a commercial customer might say "don't use dat" - then I'm SOL.
Hi, I have the 35 and the 90 macro, I would like to get two more lenses from DZO, I was thinking of the 16mm and the 75 or do you recommend the 25 and the 50?
I strongly strongly strongly disagree with idea that these lenses won’t make your footage look better. I have the 20-55 zoom and the image quality is completely next level. It’s definitely noticeable regardless of what lenses you’re coming from. Excluding Arri primes.
I'm not sure I get your point? I think they're great lenses. And making footage look better is a subjective statement. Next level compared to what? I love the Vespids but know plenty of people who don't. As you say you exclude the Arri master primes. It's not about being better or worse, just different. Picking the right look for your project is important, it's often an integral part of pre-production for a lot of people and in some cases the Vespids might not be the right choice. I don't think it's a case of, pick these lenses and they'll improve your footage. It's more a - pick these lenses if you like the look of them.
@@EdProsser I would still disagree. To say that these lenses “won’t make your footage look better”, to me, is still a comment I would have to completely disagree with. Someone coming from a kit lens; it looks better. Someone coming from a photographer lens; they look better. That’s a fact. The focus breathing is better, the vintage look and feel, the subtle sharpness, it’s just an amazing all around lens, and it will make your image look better. So I would personally disagree with your comment. You’re right though, it is a matter of taste. People that don’t like the look of the DZO lens, are typically people that like that tact sharp digital look. Which are typically non narrative shooters from my experience. I compared them to the Arri primes because those are really the only lenses I see running circles around the DZO’s. Well, that and the anamorphic Orion’s. But the Arri primes are $80,000 lenses and the Orion’s are about $9,000 per lens. There aren’t many lenses that can even produce a CLEAN beautiful image that is NOTICEABLY “better”than the DZO. Especially at their price point. But personally, I’m not a fan of the super sharp look. I’m more into highlight and shadow roll off as opposed to super high resolution. Which is why I prefer Arri over Red. So again, you’re right, it’s very subjective to taste. But I would still say... yes, these lenses will make your footage look better if you’re shooting on a $300 cine lens. Thanks for taking the time to chop it up with me. I always appreciate a good gear talk.
No worries! I’m a huge fan of vintage glass, and was immediately drawn to the vespids. I mean yeah if your comparing them to a $300 kit lens they’re deffo gonna be better. But not a fair comparison really. If your comparing them to offerings from Meike, Tokina, canon and sigma - that’s where taste comes in. I compared to the Sigma Art as I think that’s a lens many people will be upgrading from, its an affordable lens with versatile focal range - many people buy early on. I love the Sigma, but also love the vespids - diff lenses for diff uses. I shoot on my Vespids 80% of the time. And just directed a project with a DOP who uses them on his Alexa Mini.
