These Cinema Lenses Changed How I Film скачать в хорошем качестве

These Cinema Lenses Changed How I Film

#cinematography #dzofilm #cameras Before we talk about specs, I want to talk about how these lenses feel. Because when I took the DZOFilm Vespid 2 lenses out around DC, what surprised me wasn’t sharpness. It was how emotional the images felt for a lens in this price range. These aren’t lenses I tested on charts. I used them on a real project. Moving fast. Working with available light. Trying to capture moments that actually matter. So today, we’re going to walk through what these lenses are like in the real world. What I liked. What I didn’t. And whether they’ve earned a place in my kit. DZOFilm makes a variety of cinema lenses for different use cases. And their Vespid 2 line builds on what they originally deliveredwith the Arles series. DZO let me borrow three lenses from the Vespid 2 lineup. The 35mm, 85mm and 105mm. Instead of just testing them in a controlled environment, I wanted to see what they could do in practice. So we took them around DC and put them into real shooting situations. To see how they handle. How they render. And whether they make sense for the kind of work I do. One of the first things I noticed was how light these lenses feel in the hand. For cinema lenses, they’re surprisingly manageable. That makes it easier to carry multiple focal lengths without building a heavy kit. They’re also fairly compact. They don’t extend faroff the front of the camera. That helps keep the camera balanced and easy to work with. That matters for long operating days. For handheld work. And for situations where speed matters more than building out a rig. Now let’s talk about how they handle. The focus and iris rings are extremely smooth. The focus ring turns almost all the way around. About 300 degrees. That makes precise focus much easier to control. They also feature Cooke /i technology for capturing lens metadata in post. I didn’t use that for this shoot, but it’s there if you need it. They come in Arri PL mount, which makes them very adaptable. I can use them natively on something like a Sony Burano. Or adapt them for an E-mount camera like the Sony FX3. Out of the three lenses, the 35mm really stood out to me. Because of how close it can focus. Being able to get about a foot away from your subject opens up a lot of creative options. Close establishing shots. Detail shots. Almost macro-style moments. The 85mm and 105mm really shine with compression. Especially when you open them up wide. These lenses are a consistent T1.9 across the whole set. And that does two important things for how I work. First, it makes shooting in low-light environments much easier. Places like theaters or music venues where you don’t always control the lighting. Most of the time, I’m working with available light. So having a lens that lets me maximize what’s already there is a big advantage. Second, shooting wide open gives you strong separation between subject and background. The focus falloff feels smooth and natural. That makes it easier to isolate a subject in busy or crowded environments. The Vespid 2s are sharp. But not in a sterile way. There’s a softness to how they render images that feels more organic than digital. It’s subtle, but it gives the footage a more emotional quality. They feel well suited for projects where the goal is mood and feeling instead of just technical perfection. Between the way they handle out-of-focus areas and how they flare light, they help a project feel different from more conventional autofocus lenses. Nothing is perfect. Compared to the Arles lenses, which are T1.4, the Vespid 2s are slower at T1.9. But they’re also smaller and lighter. So you’re trading speed for portability. Another thing to consider is manual focus. With such a long focus throw, it can be tricky to jump between extreme focus points quickly. If I had the choice, I’d pair these with something like the DJI Focus Pro. That would give me precise manual control, while still letting me use autofocus when things start moving fast. So after spending real time with these lenses, what do I actually think? Sign up for my email newsletter: https://substack.com/@creeseworks ▶ Check out my gear on Kit: https://kit.co/CreeseWorks Affiliate Links: Vespid 2 35mm T/1.9: https://amzn.to/3NKY5B5 Sony FX3: https://amzn.to/4t4MuwR Sony Alpha 7R IV: https://amzn.to/45Jz8uu Sony FX3: https://amzn.to/3zl7pnY 16-35mm f/2.8 GM: https://amzn.to/45NO7ny 24-70mm f/2.8 GM: https://amzn.to/4cjVENj 70-200mm f/2.8 GM: https://amzn.to/4eJ6r4X 24mm f/1.4 GM: https://amzn.to/3VCCzys 24-105mm f/4 G: https://amzn.to/45Ni4np Find Me Here Facebook -   / creeseworks   Threads - https://www.threads.net/@creeseworks Instagram -   / creeseworks   CreeseWorks.com - http://CreeseWorks.com For inquiries or collaborations, CreeseWorks can be reached at: Christopher@CreeseWorks.com