I appreciate that! and yeah, that is true. There are a lot of videos on RU-vid that show the vintage characteristics more so they edit more of the vintage side. I want to see what it looks like if you just put it through its paces, both creatively, and also in an working environment.
Hey Josh! 1st off I really love the videos you make. I noticed that you are using the laser measure from the tip. You should be placing the base of the device at your witness mark for a more accurate reading.
Hey! About your confusion on the 16mm lens, T stops on cinema lenses represent the amount of transmitted light to the sensor, which is different than F stops on regular photo lenses that only represent the amount of light relative to the lens' size (hence why cinema lenses are great, you can take any lens, put it a specific T-stop, change the lens, put it at the same T-stop and have the exact same exposure). So basically, your 16mm T2.8 only transmits up to T2.8 of light, meaning that you either have to expose for T2.8 on all of your lenses, or you can just try to compensate the exposure somewhere.
I remember learning that in film class from a little while ago. T is accurate and F is estimated because of how the light is measured. Great to see the breakdown you wrote out!
Right like I said in the video - the question I was trying to ask is that at t2.8, the exposure was the same at t2.1 in the same lighting. So at 16mm t2.8 and 40mm t2.1 same lighting and settings same exposure. Why is that?
@@CineDailies Ohh ok yeah I understand now what you mean. Might be something nice to test out in the same exact shot with like false colors values or something? Personally, I find the higlights outside in the first shot to look a tiny bit brighter than the second one, but there are also more shadows in the first, so I guess that's why the scopes are similar. Anyway, great lenses though!
F-Stops are not at all a measurement of light "amount", but purely a geometric ratio, i.e. the ratio between the focal length (f) and the physical diameter of the wide open aperture. Therefore, a 50 mm lens with an aperture of f/2.0 has a physical diaphragm diameter of 25 mm. The same lens will have a T-stop number higher than T2.0, as there is inevitably some light loss as the photons travel through all the coated glass elements until they finally hit the sensor.
Awesome video dude. Currently thinking about buying a set of these lenses so this video has come at the perfect time! I appreciated this edit and overall pacing too. Easy to watch and super informative too. Thanks man
Thanks for your review. I recently got the 21, 40 and 75mm and like them quite a bit. I use a Tilta Mirage matte box, which has a 90mm opening. I add the inexpensive ($12) Tilta 77mm lens rings to for fitting on the matte box, and some generic 77mm lens caps. I agree it changes the aesthetic of the lens, but it expedites mounting the matte box. Also, the lens caps from DZOfilm are prone to falling off.
I'm so glad I found this video. I'm shooting a short next week and the plan is to use a Vespid set, but I couldn't get over some doubts I had from watching other RU-vid videos where the footage seemed to look overly vintage. This is the first video I've found of the Vespids that looks more modern and uses the characteristics of the lenses to their best advantage. I love the look you were able to get with them. Thank you. Finally feeling some relief. 😅
Great review, thanks! Wow that 40mm flares differently huh? I love the Vespids, but don't have the 40mm. I modded a Smallrig 80-95 plastic donut for my matte box, and for the 16mm I just mount the filter in a Titla lightweight 95mm holder with clamp. Cutting some tabs off parts of the donut means I can get a 95mm filter super close to the front element, with zero vignette on the 16mm. It works great.
Awesome review Joshua✨ Really enjoyed it. Q: the sample footage, is that without added diffusion (Black Pro Mist etc)?? Btw. Awesome that you cover so many aspects of these lenses, especially from a creative execution pov.
Is the calibration tool absolutely necessary? I picked up the 40mm to pair with my 6k pro, but I'm not certain about the shimming process tbh. The link on the DZO website doesn't work for the tool and I haven't been successful getting a reply from them yet.
Maybe the 16mm is f2.1 and only gathers t2.8 of light, which is really not that different from t2.1 in terms of exposure. But perhaps it feels faster because it’s actually a wider aperture than f2.8 offering shallower dof than you’d expect from an f2.8 at 16mm??? That would be my assumption anyways!
Can you add any insight on the rolling shutter issue seen on the XT5 & XH2? Have you had this issue with your XH2s and is there a workaround for video?
The Xh2s rolling shuttle performs really well due to the stacked sensor. The xh2 and xt5 will have lesser performance. The solution, don't whip pan or fast action ha
They both are great. And both have a different look especially how the SLR magics flare and the bokeh. I would do SLR but they are limited in focal lengths
Great question and yes I did see a quality difference. Not something to throw out but there is some darkening on the corners and some interesting fall off on the edges. It's subtle
I love the the SLR magic APOs but there are two major down sides to them. 1. Consistency color consistency color. 2. not a lot of length options on the wide and tele end.
I'm also rocking a couple of XH2S cameras and am thinking of snagging these lenses up. Which specific X Mount converter did you purchase to get these working on the Fuji system?
@Cine Dailies right on, I was looking at the Fringer EF-FX II one myself, I'm finding in my digging around that and the one you mentioned seem to be the best built ones.
Hi from France. Thank you for this video. Inspiring as always, even for a review. Have you tried / compared the Vespid Primes with the Meike lenses ? Do you know if there is a huge difference between these brands ? Thanks again
Thanks for watching! So personally I don't like the Meikes at all. They are inconsistent with the build quality and a few others But I know a few other filmmakers like them. So I don't plan on reviewing them.
@@CineDailies Oh HECKS YEAH!!!! That is great news. I picked up the Laowa rear anamorphic with the stretch set vertical. I will use the moment anamorphic set normal. It will give my footage a crazy look using the c70
Hi! I have a feeling you can help me. On a daily basis with a larger team we use our Red Raven with Otus 28mm + 55mm + 20-55 DZO. It's totally my vibe when it comes to color rendering and skintones. For one-man jobs I have the Canon R6 + 24L + 35mm Sigma Art. I fell in love with what fujifilm x-h2s produces. I would like to replace the Canon with it. I know that in most cases I will not replace my Main setup - but I'm wondering whether to go into adapters at all… (fringer i believie) Will all Fuji setup all 18 1.4 + 33 1.4) is it a good option for simpler jobs where I will use autofocus? How about this lens compare to Otuses? Thanks for making this content!
Talk about pressure lol my best advice to you is to rent the xh2s. There are so many things I can't speak on for you because Idk how you work or expectations are for AF. So if you can rent the camera and test it against your current gear.
Really need your advice: I want to get a 40mm and the decision is between the dzo 40mm and the sigma art 40mm. The dzo is twice the price and the sigma is almost twice the weight. I was really leaning towards the dzo because of the cinema build but the example of the flare and glare in this video really makes me wonder if I will like that lens. I hate it when a Lens has a full screen glare that needs to be controlled by a matte box all the time. Is it really that intense in practical situations? Also have you tried sigmas 40mm? people seem to be really into this lens. It is heavy though. Anyway thanks for the video! I should add what I do: I shoot narrative shorts and commercials with a small team. I mostly pull my own focus when I operate myself (230° Focus throw too much?). Also I'm getting more and more into 1AC jobs. So skills like shimming and switching lens mounts would be good to have. Also just handling cinema glass in general. What do you suggest?
I recently buy a 50mm dzo but the adapter that I use for my FX6 ( EF to E) crop the image a lot, could you tell me what adapter do you have? thanks man
@@CineDailies I'm torn between 21mm and 25mm. I'm a huge fan of 35mm focal length on full frame. Is there noticeable distortion on 21mm vs the 25mm on s35?
@@krisco Take this with a grain of salt but a quick check on DZOs site reveals the 25mm has the most elements of the entire set: 11 vs 9 on the 21mm. I've always heard less elements equates to more depth, micro-contrast, 3D Pop etc. Things to consider on such a pricey purchase. But if lens distortion is a major concern then 25mm will surely have less than 21mm. That said the 21mm examples shot by our friend here display surprisingly low distortion. FWIW 35mm is also my favourite full frame focal length but with 6K that speed-boosted 21mm may turn out to be real versatile.. I dunno just some thoughts before I commit to switching to XH2S from FF Canon!
can you get more / better / unforced COLOR saturation out of this glass in post? I'm looking for affordable cine lenses that are sharp and well-saturated in color.
@@richardweddle3408 sure you can add more contrast, and boost the color - it's all taste. But the lens is pretty neutral. It all comes together in post
