Perfect Set for me would be 20 - 28 - 40 - 65 - 85 :) 40 is by far the focal lenght that I love the most. Even on zooms I naturally lend at 40mm. Great review ;)
Dude, just from the first 30 seconds where you showed examples of why 40mm is such an important (and useful) focal length, I knew I had to sub. What a detailed and enjoyable video!! love your content man. I got to direct a couple commercials last year where we chose the Vespid primes, and man, I was so impressed. After seeing your little film, I think I'm buying the 40mm! haha!
I recently got the Vespid 21, 40 and 75mm. These cover the majority of focal range I typically shoot in. The 40 falls nicely between the 35 and 50, and I can usually adapt my frame as needed by simply adjusting my camera distance. The Vespids have a great character to them, and I plan to expand the set over time.
Great review thanks Jesse. Love the Vespids, I have the 21, 35 50 and 75 but am very tempted to get the 40 for an upcoming project. Kinda wish they'd make a 28 too 😅 I have an Irix 15mm (needed the weather proofing) but the focus is so much smoother on the Vespids, they're much nicer to use IMO.
@@georgealisterf.253 it feels great, and is quite light too. Lighter than most of the other Vespids. Which suits you really depends on the type of work you do. I find I use the 35 and 75 on full frame more than the 50, but that’s where I have space to distance myself from subjects. There are some situations where 21mm and 40mm would be better pairings. In a project about to start soon I know many situations will be in corridors, where I’ll be very close up so 21mm + 40mm are likely to be my go tos, probably some 16mm too. The 50mm will be too tight.
Thanks Jesse for great quality review! Just curious… loved the little commercial piece you shot with lens. Really beautiful. Nice lighting etc. What camera did you shot it on? And on what sensor size. Heard you said something about the komodo. If so did you use a speedbooster or is that with the 1.33 crop?
Wouldn't those godfather shots equate to something around 27-28mm focal length because 1917 was shot on large format? I know Roger Deakins used a 40mm in that film.
No the Godfather used a Panavision rehoused 40mm Cooke Speed Pancho (alongside Super Baltars) on 35mm motion picture format. The opening of the video mixes films shot on 35mm (S35) and FF / 135 / LF and that confuses things... because a 40mm gives a very different AOV on S35 compared to FF / 135.
@@botbot3698 a 40mm is a 40mm on any format... that never changes... what changes is angle of view. In cinematography 3 or 4 perf (S35) is the baseline. The "35mm equivalent" refers to the focal length used on S35 ... when compared to FF / 135 / LF. So when Deakins shot 1917, he said he used a 40mm on the LF as that gave him the equivalent of a 32mm open-gate on the Alexa (s35). When he used the original Alexa which has a smaller 2.8k sensor, he used a 28mm for the same angle of view. S35 was the baseline from which he made his focal length choices... because this has been the standard in cinema for over 100 years. The 40mm on The Godfather is a 40mm... not and never can be a 28mm. If you mount a 40mm lens on S35, to match the AOV on a FF / 135 / LF camera, you would use a 60mm lens. If you mount a 40mm lens on FF / 135 / LF, to match the AOV on a S35 camera, you'd use a 28mm. The focal lengths remain unchanged by the format they are used on... The problem is the opening of the video mixes S35 and LF movies... and that confuses the subject... as it mixes two angles of view. Put simply, a 40mm on the Godfather would be used for different shots compared to a 40mm on any FF / 135 / LF movie.
Did you use any lens filter on the example commercial. The blacks/shadows look pushed compared to other dzo video examples. Or did you achieve that slight faded look in the grade?
wish you would of ran the shots full screen, but pretty good otherwise. liked having a real background as it shows lots of things a blank wall doesn't. one point : you can't tell build quality just by initial handling of a lens. use it in the cold, does it freeze up or get stiff ? heat ? does it hold up after a few years of use, is the tension the same or need servicing.
Awesome video, and that sample commercial was beautiful. Quick question, since you're using a 40mm on a Super35 sensor what does that translate to focal length wise?
A 40mm on S35 = a 40mm. That doesn't change because the lens is used on a different sensor format... nor is "full frame" the standard from which cinema focal length equivalency measured (that is S35).
But what about if the 40mm is a full-frame lens, like the Vespid here, on a S35 sensor (like the RED Komodo)? Full-frame glass, when used on S35 / APSC size sensors, punch in a bit; so it’d be something like a 60mm (more/less) at that point.
@@InfamousStar1 if you mount a 40mm with a image circle designed to cover FF / 135 on a S35 sensor... it is still a 40mm. The focal length does not change. The angle of view has reduced (because the image circle is being projected onto a small sensor). Only the middle area of the projected image circle is being used. Mount a 40mm lens designed for S35 on the S35 camera and the angle of view will be identical to the 40mm designed for FF / 135. The difference is the entire projected image circle of the S35 lens is being used. Mount a 40mm designed for S35 on a FF / 135 sensor camera - and it will vignette... as the image circle is too small to cover the larger sensor. A 40mm designed for FF / 135 mounted on S35 does NOT become a 60mm. That is the full frame myth. If you wanted to replicate the angle of view a 40mm lens gives on S35... on a FF / 135 camera, you use a 60mm lens. This is because on FF / 135 you are simply using longer focal lengths (compared to S35) for the same angle of view. But a 40mm is a 40mm on any format. Using larger or smaller sensors has no effect on focal length at all.
Hey Jesse, thanks for this review it was very helpful! Gotta a question for you. Do recommend a specific PL to RF adapter for this lens/komodo pairing?
I find your intro-montage somewhat confusing, as you aim to show different movies using 40mm lenses. Even though the movies were shot with 40mm, they are shot on different sensors/films, on different aspects ratios and even some anamorphics. Thus, they do not share the same field of view! When we talk about favouring a specific focal length we usually talk about favouring a specific field of view. But your montage shows a wide variety of fields of views. This is confusing, and I wonder what your intention with the montage was, as it could not be to show a specific field of view 🫤
