I’ve seen almost every vespid prime review and this is by far the the best one. Your story telling, editing, and pacing has improved so much throughout the years. Excited for all the content to come this year
Dude this is some of the best footage I have ever seen from both the Komodo and the DZOs paired together. Thank you so much for actually showing real world use and your experience versus just shooting a random tree or wall lmao
It makes so much sense to me. Manual focus can feel so overwhelming at times. I took a photography class years ago in downtown Minneapolis where we learned inside and then went out around town as a group and shot. By the end of the day I knew my camera so much better. We all just need to take the time and practice more. Putting in the work is key. Great video, thanks Ryan.
Absolutely excellent take on Cine Lenses, Ryan! I picked up a “like new” 7 lens kit of the Vespids a few months ago for about $2500 off and I’ve never looked back! These things are a solid way to get started in the life of cinematography. Autofocus is great, but it doesn’t know how to tell the story. Cine lenses have definitely made me a better filmmaker.
idk bro, I bought into that whole imperfect characteristics thing, I went and got a cinema lens (Xeen CF 50mm T1.5), great lens, definitely a different experience when shooting, but I would not go as far as to say that it produces an image that is more organic or different than a photography lens. In fact, the internal components for cinema lenses are the exact same as photography lenses, the only thing that changes is the housing and the mechanics for focus and zooming. The novelty of being old school and focus manually is fun for a while, but for most content creators and run-and-gun and independent filmmakers cinema lenses are just not practical, and you have a better chance to get that filmic look with software like Resolve and Dehancer than by buying overly priced manual lenses....
Ooohh yeah, I see the new Ryan's Kao video! Just don't stop doing it dude, just continue! In my country it's 2:40 am, but I really enjoy to watching your videos man, it's has extremely high quality, I really appreciate it!
I just went DZO and although I'm not a year in, it def makes a huge diff. I love the image and it def keeps up with other more expensive cinema class surprisingly well. Awesome and thoughtful video. Thanks dude, Happy 2023 🥂🎥
It's funny... Having shot a couple of features films and tv series I feel the opposite. I never used autofocus in my entire life until very recently, always had yo rely on Focus pullers to help me tell my stories and now that I'm seeing the potential of automated Focus I can say I feel liberated, I can do a Lot of very complex stuff quickly, get more coverage and have a Big palette of lens options to pick from and create distintct atmospheres.
5 месяцев назад+1
That's because you learned the hard way, today, even if i'll always prefer manual the autofocus is what we mostly knew all our lives
Ryan, as a DOP in the UK and in the industry or over 20 years, thank you. To watch this video from and young film maker is a breath of fresh air. All I hear is " OMG the autofocus on the FX6 or what ever camera is so amazing. I agree there is a place or it in some situations.... BUT... the art and skill of the focus pull is a necessity for any up and coming film maker. SO Thanks mate.. probably the best this I have seen on here or a long time. Oh and I agree nice footage ....
Dude everytime you post a video it somehow magically coincides with what I am thinking about/contemplating lol. Great video. I've been looking at these lenses as well and sound like a decent investment
Awesome video! I just started using cine lenses in the last 2 months and definitely have realized how much more control we can have over our story or shot while pulling focus. Like you said it's a little more work but it's worth it and a lot more fulfilling. Also, the fact that cine lenses give so much more character to a shot is awesome as well! great video!
Thanks a ton Alex! Really glad you've gotten to try them out. I really find its a super helpful experience and skillset to have to all types of shooters regardless of if you need autofocus or not!
Was debating on these DZO lenses, this video put me over the edge with them. I will shoot my upcoming documentary with them! Thanks for the great rerview, just found your channel today…really solid man!
As a Sony user I really want to one day invest in cine lenses and a cine camera like a red Komodo, especially for music video production, your shots were really insane to me cause they looked like I was watching films. You’re so awesome dude
Dude Mikey... Thank you so much. Wanted to really show a diverse amount of looks to demo the lenses and their versatility, opposed to just tons of "clean" rec709 looks that's in every other lens review haha
I use a lot of autofocus lenses. And autofocus lenses can turn manual focus to achieve the look i want, but Manual focus cine lens can’t turn autofocus. I’ve been working a lot a documentary films, there’s a lot of great but unexpected moments can happen in documentaries. It is really stressful seeing the video lost focus at the very important moment by using the manual focus cine lenses.
Cine lenses, the real expensive ones are design for a whole crew. The best for solo shooters and small budget crew is auto focus. you already gave one excellent example of the why
This video is such a great pairing of auto vs. manual focus showcasing amazing affordable lenses! I own a Vespid 40mm and agree with everything 100%. Fantastic video!
Found your vids for the first time. This is succinct, attractive, clearly informative, and not cheesy. Thanks, Ryan. We need more of this kind of stuff. - Brian Fannin
Right tool for the job. Matthew Heineman shot "98% of Cartell Land with the C300 and a Canon EF-S 17-55mm f2.8 and Canon 24-105mm f4." It looks incredible. I think the compact size of photo zoom lenses and IS are both features that shouldn't be written off. Denying those tools because someone feels the build looks amateur is just doing a disservice to the operator. You could throw gears on a cheap vintage set of Nikon AI-S lenses and also get really good results. Or pay some company 10k for the rehoused "Cinema Version." DZO lenses are modern glass with gears on them. There's nothing super unique optically about them...
For run and gun you really can't beat having IS and AF. Of course there are many edge cases but having the ability available should you choose to use it is invaluable. If you don't need it, it's just a quick setting or button push away from being disabled. I'd say if any field benefits from these features it's the documentary. And in general, what hasn't been said about Canon's cinema line for this type of work? Battle tested and produces great image and sound. On the flip side it's important to have the manual skills should any of these auto features fail in the field...
Very valid perspective! I fully agree that quite a few of the older stills zooms can be fixtures for plenty of scenarios. The 17-55 is a wonderful companion for doc work with its IS and relatively well aged older optics. I still absolutely advocate for choosing the tool that best suits your scope of work, and for many shooters it’s simply more practical to stick with consumer stuff! I’m a huge fan of the old Nikkor glass. Wanted to put together a set awhile back as I had the 50 and 24 at one point with some adapters. The DZO’s are most certainly modern formulas, but do still impress me with their performance in many scenarios. Pleasing flares, minimal breathing, soft contrast. Not a unique look, but a great blend of faithful and neutral in a well built housing with consistency across the set. Thanks for stopping by Ben!
I started using auto focus when I got my C70. I always shot video manually. I mostly use the old Canon Cine lenses. Would love to try these "budget" lenses
Id love to hear you talk about how your network has unfolded over the years and gotten you jobs. I Feel like such a socially stunted nerd sometimes who can make great images, but learning how to talk to people and forge relationships in a professional setting is rocking my world!
I agree with some points in the video, however, I prefer to have autofocus in my lenses. I can easily switch to manual focus and act like I own cine lenses if the occassion arises. True, there are some image characteristics that won't be the same if I used the cine lenses, but most of them I can fix in post, and have more flexibility later if I decide I want to go for a specific look instead of already having baked image from cine lenses.
Focus is intention, it's another way to communicate with your image. If you're relying on AF, you lose a whole layer of communication. Yes, AF is helpful, but it's also incredibly distracting. The DZOs are so great and accessible, such a great way for DPs to get their hands on cine glass at a cheaper bracket.
Well i could agree till 2 years ago, but now af is becoming absolutely incredible, you can select focus on a touch screen and it pull focus much more precisely and smoother than few years ago, especially sony latest cameras. So for a one man band…it s a no brainer.
It's wild. I come from the complete different side of that, just used autofocus which really REALLY works for the first time on a project this year. Love it and hate it at the same time
So are you saying Sigma is not for filmmakers, I'm a beginner filmmaker and I just bought the Bmpcc 6K Pro and I just ordered for the Sigma 18-35 art lens
i'd like to say that the sigma 18-35 is the perfect lens to start out on for filmmaking. and honestly I would still use it in professional settings if it wasn't for the fact it is a crop sensor lens. and even then sometimes I would consider putting my camera is s35 mode to use it. just create great art, don't listen to the hate.
I bought the SLR Magic cine microprimes, used em with the Sony cameras, and went back to GM photo lenses because I prefer the “sharp” look. I also feel like manual focus is like manual coffee grinding: it’s kinda hipster lol
I know for a fact that the glass in some cinema lenses is exactly the same as in the stills variant if it exists. But you are right: too sharp exists. The cooke’s look amazing!
one of the mistakes I did a few years ago, was thinking I needed a new lens when ever a new one comes out. reminds me when I sold a nice older lens for the sigma 18-35 it was so sharp I had to create grading files to play down the sharpness, so you are right sharp lenses is not alway my taste but for me I do like to have alit the punch with my films. great content, I will get me a cinema lens soon
would you recommend using them for the Fx3 with an E-Mount adapter? Not sure if the Fx3 is the best choice because of the sensor stabilization... lot of micro jitter even though riged and turned off
Yes! I would suggest turning off IBIS and rigging up the camera some weight for added mass and balance. IBIS can work well with these but I find it a little unpredictable in cases
Great video, and one thing that kind of surprises me is that why is no one making lenses like this with autofocus? Like there is nothing about the optical design of a high end cinema lens that makes it not able to autofocus, its just no one bothers to try. As a mostly stills photographer, it drives me nuts that all the manufacturers of photography lenses are so focused on only creating these perfect sterile lenses. Though I think part of it is because the customers seem obsessed with it. I remember when Nikon released the 58mm f/1.4G years ago they took so much crap for that lens not being able to resolve insane sharpness wide open but IMO that's one of the best lenses Nikon has ever made and I adore that lens because it was for for just a fleeting moment a still camera maker realizing there is more to life than sharpness so prioritized the sort of properties that cine lenses tend to be loved for. That lens is the softest modern lens I own yet it spends more time on my camera than all the rest of my lenses combined.
With all due respect, there are definitely cinematographers shooting sony and sigma glass on their ARRIs and REDs. sure they may not use the photo housed version of those lenses, but they ARE using the cinema version. the reason I make that point is that while they are using the cine housed version of those lenses, the optics are identical to the photo version, and so if a young filmmaker wants the look of top gun: mavrick then they know they can afford to do so by just getting the photo version. while it may not be the exact lens used on set, it has the same optical DNA. Just something to point out for the budget audience. cheers!
Great point, plenty of amazing work shot on stills stuff. I think did a good job to not emphasize too heavily that the optical qualities of popular stills glass is "invalid". The general point made of helping entry level filmmakers to understand why cine lenses exist, ie. manual focus, usability, optical character, etc. was well put!
18-35 has been stuck to my Zcam s6 almost entire time I’ve had it - I have managed to soften and give it some character but it’s time to move on - focussed all my cash toward lighting and grip, need to give some attention to the glass !
I'm nearing the end of making my first rig (thanks to you and Caleb Pike for leading the way with that), and I had to go for the even more budget option and pick up the SLR Magic MicroPrimes. Been testing them a little, wish they were smoother, but finding them to be decent. I was eyeing the DZO Parfocal Cine Zoom Lens, but needed something a little faster. I've never had a camera with even reasonable autofocus, so I've always pulled manually, but I've never done an amazing job at it (with photo lenses). Now that I use a follow focus on a cine lens instead of turning the ring manually, I'm finding I do a better job. One thing that autofocus can never do is anticipate what you want to be in focus as it's moving in the frame and pull accordingly (at least until AI figures that out).
You might consider the SLRMagic APO micro primes. The focus and aperture rings are very smooth, and the overall build quality is as good as the DZO offering. They also have the benefit of being an APO design, so chromatic aberration is greatly reduced on those lenses. :-) I know they've been used on B-cams and second-unit cams on bigger shows that were (primarily) shot on Alexa/Cooke Si packages. Of course, the DZO lenses are also very good. :-)
@@shawnmiller8169 Yeah, wish I'd known about the chromatic aberration before I got them, but it hasn't been too terrible. Probably would've gotten the DZO when they were on sale though if I'd realized it. Still pretty happy though.
Loved the storytelling in the review, I dig it when products are used in the wild so to speak. Feels less scripted and personal. Oh, and to know the projects that you used these on is shocking cuz they were great and you didn't have to break the bank for them! 😮💨🔥
Hey! Great video...really appreciate everything you said, especially since I'm on the "buyer's platform", should I leap into the cinema lens? I really appreciate the "nudge" to go ahead and jump...thanks Bro.
Samyang has some Auto focus cine lenses whose footage looks so good. I think the option for autofocus is important for shooters with small crews or solo filmmakers. They can shoot manual and change to auto when the convenience is needed. And for most people the insane prices of cine lenses is not worth it considering that some of the looks can be replicated with color grades.
Real Question: Would it be Better to shoot to dark and high contrast on set, then Pull it up and lighten in Post if you’ve stopped down to far? Vice Versa; or to shoot light and open, then pull it down if it’s not to your cinema taste?
Coming from a AF lens, how would you keep the MF sharp with scenes that are moving, like those kitchen scenes with a handful of subjects/ pan being used. ? Curious to know?
is Autofocus for a talking head setup important? if you just sit in frot of the camera and select the mid with wide field should be good to go with a manual too right?
Manual focus will never be obsolete because of its symbiotic relationship with humans. The human touch and refined instinct cannot be replaced. Period. Autofocus and the evolution of Lidar systems has it's place and is a great addition to our swiss army knife as creators. Auto focus is a tool, manual focus is a blessing lol
Beginner filmmaker here. Never used autofocus because I have a very old camera. Manual focus is a different vibe. Tho quite back breaking when operating and focusing without an external monitor lol
Thanks for this, Ryan. I'm getting myself a kit together in 2024 and definitely will be buying cinema glass and even more definately budget ones. I used the Samyang Lenses when I was studying and I liked them. These lenses seem fantastic also for their price which is a bit more than the Samyang, which I'm curious if you have used them before and how they might compare to DZO. Thanks.
Amazing Video... I am actually looking into DZO... I recently Purchased a few Cameras... Towards the Canon EF System... Canon M > Canon R5c > BM Production 4k Global Shutter DZO Vespid and Catta Zoom Set... by the way... Your Description.. you used "Vepsid" instead of Vespid also... You showcased on many occasions thru this video the Mattebox Filter by SmallRig but... You did not post the Link to Purchase. You only posted the "Tilta Mattebox"
lol. you did not Edit the "Description... yet. lol 1 year later. lol i wanted to ask... at 7m 50sec into the video.. you rolled a Stand with a very nice Studio Shooting Setup. what Rolling Stand and Arms did you use?
Good video - I suspect the most challenging aspect of cinematography - once one has a decent camera/lens combo - is the lighting of shots (that aren’t outdoor scenes and the natural light, on the day, can be wholly relied upon); I’ve shot some outdoors stuff on a Komodo and a Canon photographic lens with some great results but put me in an indoors setting - and whether it’s a photo or a cine lens on the camera - I think my limited skills would be shown up !
Hey Ryan. Can I use a regular charger such as the REYTRIC Dual D-Tap (P Tap) Travel Charger to charge a CAME -TV V-Mount battery? Really need to know as I'm about to invest in a couple. Thank you.
I'm impressed with the Vespids. Not my favorite out of the Cinema Primes I've used (the Tokina Vistas take that) but for the money....the Vespids are an incredible deal.
Great video about why its a great thing to use proper tools in the industry, expecially wanting to do videography for films. But you never mention what you use with manual lens, alot of videos ive watched say the same thing, about the lens and why its good to have a manual focus. You should also include how you use it for us beginners looking at manual lens. I know from studying at film school follow focus and having a focus puller but what about on your own. What do you use expecially in those adventure or quick moving shots if your by yourself (I would personally benefit from this question, Ive been struggling to get in focus shots while focusing on person in frame) Thanx
When I first switched to a cinema lens from the regular photo lenses most of us use the thing I liked the most was how imperfect the picture became, not as sharp as a razor but more soft and easier on the eyes. More cinematic if that is allowed to describe the picture quality.
Great advice! Thanks for sharing your experience with these lenses. I'm certainly interested in what DZO has to offer. What follow focus grip are you using on the Komodo build?
What's your take on Samyang's Cine V-AF series?, Can the quality of it be considered as a cheap/budget cinema lens which also has a autofocus mode or does not count as such?
I soften in post, either via Dehancer for pseudo film look or DFD for true organic qualities. But I want the purest signal possible from my camera, as I may use the footage for enlargements etc, and if I were to soften upstream via soft lens, diffusion filters, fog or just a pair of pantyhose, there would be no option to go back and add sharpness in post.
I wish that creators and other RUclipsrs would stop being embarrassed about using words like “filmic” and “cinematic” when these terms perfectly apply to the craft you are working in. What other words would you use? I can’t think of any. Besides my little rant here I really enjoyed your review and this is by far the best one out there for these lenses👍
Ryan, absolutely great content! I have two questions if you don’t mind. 🙏🏻 What follow focus system would you recommend for a run and gun scenario for a starter in cine lens? A manual one like the pocket tilta oe something motorized like the nano? And, I don’t know if you tried the Meike lenses. Would you recommend the DZO over them? I don’t know what to decide. Again, thank you for this content everything you said in this video has helped me a lot.
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Fire bro! I was literally planning on renting these out and making a video about them my experience with them. I’m interested in investing in a set.
Bro seriously go for it. One of my favorite pieces of gear period in the last year.
I’ve seen almost every vespid prime review and this is by far the the best one. Your story telling, editing, and pacing has improved so much throughout the years. Excited for all the content to come this year
Wow, thank you so much for the kind words Emmanuel. So glad you liked this one
Dude this is some of the best footage I have ever seen from both the Komodo and the DZOs paired together. Thank you so much for actually showing real world use and your experience versus just shooting a random tree or wall lmao
dude Ed thank you bro. Genuinely glad you enjoyed this one! Better go get you a set ;)
It makes so much sense to me. Manual focus can feel so overwhelming at times. I took a photography class years ago in downtown Minneapolis where we learned inside and then went out around town as a group and shot. By the end of the day I knew my camera so much better. We all just need to take the time and practice more. Putting in the work is key. Great video, thanks Ryan.
Absolutely excellent take on Cine Lenses, Ryan! I picked up a “like new” 7 lens kit of the Vespids a few months ago for about $2500 off and I’ve never looked back! These things are a solid way to get started in the life of cinematography.
Autofocus is great, but it doesn’t know how to tell the story. Cine lenses have definitely made me a better filmmaker.
Wow Chris, thank you! What a steal on that used set. So glad you're enjoying them and I'm pumped to see your video on them!
@@RyanKao Much Love bro!
idk bro, I bought into that whole imperfect characteristics thing, I went and got a cinema lens (Xeen CF 50mm T1.5), great lens, definitely a different experience when shooting, but I would not go as far as to say that it produces an image that is more organic or different than a photography lens. In fact, the internal components for cinema lenses are the exact same as photography lenses, the only thing that changes is the housing and the mechanics for focus and zooming. The novelty of being old school and focus manually is fun for a while, but for most content creators and run-and-gun and independent filmmakers cinema lenses are just not practical, and you have a better chance to get that filmic look with software like Resolve and Dehancer than by buying overly priced manual lenses....
🤔 Hmmm.....that's interesting.
Ooohh yeah, I see the new Ryan's Kao video! Just don't stop doing it dude, just continue! In my country it's 2:40 am, but I really enjoy to watching your videos man, it's has extremely high quality, I really appreciate it!
Wow 🖤🙏
the footages were so clean, really thankful that you portrayed real world usage of these lenses! Keep it up G! Great work.
You always know when to drop the videos I need to see most! Cheers to 2023, keeping putting out that pressure 📈📈
I just went DZO and although I'm not a year in, it def makes a huge diff. I love the image and it def keeps up with other more expensive cinema class surprisingly well. Awesome and thoughtful video. Thanks dude, Happy 2023 🥂🎥
Great breakdown of photo vs. cine lenses. I have been looking for a video like this for a while now!
Glad it was helpful!! Thanks Levi.
It's funny... Having shot a couple of features films and tv series I feel the opposite. I never used autofocus in my entire life until very recently, always had yo rely on Focus pullers to help me tell my stories and now that I'm seeing the potential of automated Focus I can say I feel liberated, I can do a Lot of very complex stuff quickly, get more coverage and have a Big palette of lens options to pick from and create distintct atmospheres.
That's because you learned the hard way, today, even if i'll always prefer manual the autofocus is what we mostly knew all our lives
Ryan, as a DOP in the UK and in the industry or over 20 years, thank you. To watch this video from and young film maker is a breath of fresh air. All I hear is " OMG the autofocus on the FX6 or what ever camera is so amazing. I agree there is a place or it in some situations.... BUT... the art and skill of the focus pull is a necessity for any up and coming film maker. SO Thanks mate.. probably the best this I have seen on here or a long time. Oh and I agree nice footage ....
Dude everytime you post a video it somehow magically coincides with what I am thinking about/contemplating lol. Great video. I've been looking at these lenses as well and sound like a decent investment
Haha my man! Appreciate you stopping by. Pull the trigger man you won’t regret it!
Awesome video! I just started using cine lenses in the last 2 months and definitely have realized how much more control we can have over our story or shot while pulling focus. Like you said it's a little more work but it's worth it and a lot more fulfilling. Also, the fact that cine lenses give so much more character to a shot is awesome as well! great video!
Thanks a ton Alex! Really glad you've gotten to try them out. I really find its a super helpful experience and skillset to have to all types of shooters regardless of if you need autofocus or not!
just beautiful footage. I am absolutely smitten by those lens looks. They look gorgeous. Well done cinematography as well!
Was debating on these DZO lenses, this video put me over the edge with them. I will shoot my upcoming documentary with them! Thanks for the great rerview, just found your channel today…really solid man!
Go for it man, there an excellent balance of price to performance. You’ll love them
1 year comment review?
It’s kinda rare I watch a video all the way through. Thank you for creating such thoughtful content. God bless
Thank you for the watch! Glad to hear you enjoyed!!
As a Sony user I really want to one day invest in cine lenses and a cine camera like a red Komodo, especially for music video production, your shots were really insane to me cause they looked like I was watching films.
You’re so awesome dude
Dude Mikey... Thank you so much. Wanted to really show a diverse amount of looks to demo the lenses and their versatility, opposed to just tons of "clean" rec709 looks that's in every other lens review haha
@@RyanKao Well you defs had me shook my dude, for reals
I use a lot of autofocus lenses. And autofocus lenses can turn manual focus to achieve the look i want, but Manual focus cine lens can’t turn autofocus. I’ve been working a lot a documentary films, there’s a lot of great but unexpected moments can happen in documentaries. It is really stressful seeing the video lost focus at the very important moment by using the manual focus cine lenses.
Cine lenses, the real expensive ones are design for a whole crew. The best for solo shooters and small budget crew is auto focus. you already gave one excellent example of the why
This video is such a great pairing of auto vs. manual focus showcasing amazing affordable lenses! I own a Vespid 40mm and agree with everything 100%. Fantastic video!
I need to get my hands on a few of these lenses. Been eying them out for quite some time now. Thank you for the review! Great work!
Thanks Sten! Highly recommend them
great work on this ryan
Thumbnail legend lol
I've been shooting manual focus for years and I will always recommend that over. Even when I'm using Photography Lens, I shoot manual focus
10:22 what a beautiful scene ❤Real talk, I really want a set of DZOs. Great video dude!
Found your vids for the first time. This is succinct, attractive, clearly informative, and not cheesy. Thanks, Ryan. We need more of this kind of stuff. - Brian Fannin
I shot my short film on a set of DZOFIlm Vespid Retros, and they were some of the best lenses I have ever used. Great lens set.
Right tool for the job. Matthew Heineman shot "98% of Cartell Land with the C300 and a Canon EF-S 17-55mm f2.8 and Canon 24-105mm f4." It looks incredible.
I think the compact size of photo zoom lenses and IS are both features that shouldn't be written off. Denying those tools because someone feels the build looks amateur is just doing a disservice to the operator.
You could throw gears on a cheap vintage set of Nikon AI-S lenses and also get really good results. Or pay some company 10k for the rehoused "Cinema Version." DZO lenses are modern glass with gears on them. There's nothing super unique optically about them...
For run and gun you really can't beat having IS and AF. Of course there are many edge cases but having the ability available should you choose to use it is invaluable. If you don't need it, it's just a quick setting or button push away from being disabled. I'd say if any field benefits from these features it's the documentary.
And in general, what hasn't been said about Canon's cinema line for this type of work? Battle tested and produces great image and sound.
On the flip side it's important to have the manual skills should any of these auto features fail in the field...
Very valid perspective! I fully agree that quite a few of the older stills zooms can be fixtures for plenty of scenarios. The 17-55 is a wonderful companion for doc work with its IS and relatively well aged older optics. I still absolutely advocate for choosing the tool that best suits your scope of work, and for many shooters it’s simply more practical to stick with consumer stuff!
I’m a huge fan of the old Nikkor glass. Wanted to put together a set awhile back as I had the 50 and 24 at one point with some adapters.
The DZO’s are most certainly modern formulas, but do still impress me with their performance in many scenarios. Pleasing flares, minimal breathing, soft contrast. Not a unique look, but a great blend of faithful and neutral in a well built housing with consistency across the set.
Thanks for stopping by Ben!
Sick review bro! Definitely teaches the value of the cine lenses over photog lenses
Thanks for stopping by Jonathan!
I started using auto focus when I got my C70. I always shot video manually. I mostly use the old Canon Cine lenses. Would love to try these "budget" lenses
Id love to hear you talk about how your network has unfolded over the years and gotten you jobs. I Feel like such a socially stunted nerd sometimes who can make great images, but learning how to talk to people and forge relationships in a professional setting is rocking my world!
I agree with some points in the video, however, I prefer to have autofocus in my lenses.
I can easily switch to manual focus and act like I own cine lenses if the occassion arises.
True, there are some image characteristics that won't be the same if I used the cine lenses, but most of them I can fix in post, and have more flexibility later if I decide I want to go for a specific look instead of already having baked image from cine lenses.
Beautiful footage! I wonder how DZO would go against the "super" budget SLR Magic Microprimes?
Focus is intention, it's another way to communicate with your image. If you're relying on AF, you lose a whole layer of communication. Yes, AF is helpful, but it's also incredibly distracting. The DZOs are so great and accessible, such a great way for DPs to get their hands on cine glass at a cheaper bracket.
Well said! Thank you so much 🙏
You can switch your AF lenses to manual. No need to spend any money if that your only concern…
@@zeluisbelo of course use what you have access to, learn your lenses, get to know them, make it muscle memory.
Well i could agree till 2 years ago, but now af is becoming absolutely incredible, you can select focus on a touch screen and it pull focus much more precisely and smoother than few years ago, especially sony latest cameras. So for a one man band…it s a no brainer.
Absolutely love the DZOs! Great video 💪🏼
They’re phenomenal honestly! Thanks man
Great look into the cinema lenses! I wonder if this is the same reason people love Leica lenses. The way a lens renders an image is so important.
It's wild. I come from the complete different side of that, just used autofocus which really REALLY works for the first time on a project this year. Love it and hate it at the same time
Brilliant, you've managed to put my thoughts around manual focusing into a beautiful video with some amazings shots.
So are you saying Sigma is not for filmmakers, I'm a beginner filmmaker and I just bought the Bmpcc 6K Pro and I just ordered for the Sigma 18-35 art lens
i'd like to say that the sigma 18-35 is the perfect lens to start out on for filmmaking. and honestly I would still use it in professional settings if it wasn't for the fact it is a crop sensor lens. and even then sometimes I would consider putting my camera is s35 mode to use it. just create great art, don't listen to the hate.
@@Ansonandco Thanks man really appreciate, Sigma it is then 😊
I’m shooting a sport spec ad next month and really want to use these lenses to shoot it
Dude! Highly recommend you try them out
Beautiful review!💯
Much love!
Dope video man, I might look into the DZO lenses. I've been rocking out with the 7artisans cine lenses and they're pretty good for the low price!
I bought the SLR Magic cine microprimes, used em with the Sony cameras, and went back to GM photo lenses because I prefer the “sharp” look. I also feel like manual focus is like manual coffee grinding: it’s kinda hipster lol
Fair point will! Again, for some shooters the photo glass is just more practical both in terms of look and usability!
Isn'l more flexible to just shoot super sharp and soften/'filmize' the footage in post?
I know for a fact that the glass in some cinema lenses is exactly the same as in the stills variant if it exists. But you are right: too sharp exists. The cooke’s look amazing!
one of the mistakes I did a few years ago, was thinking I needed a new lens when ever a new one comes out. reminds me when I sold a nice older lens for the sigma 18-35 it was so sharp I had to create grading files to play down the sharpness, so you are right sharp lenses is not alway my taste but for me I do like to have alit the punch with my films. great content, I will get me a cinema lens soon
would you recommend using them for the Fx3 with an E-Mount adapter? Not sure if the Fx3 is the best choice because of the sensor stabilization... lot of micro jitter even though riged and turned off
Yes! I would suggest turning off IBIS and rigging up the camera some weight for added mass and balance. IBIS can work well with these but I find it a little unpredictable in cases
@@RyanKao thanks for the reply! 💪🏻
Great video, and one thing that kind of surprises me is that why is no one making lenses like this with autofocus? Like there is nothing about the optical design of a high end cinema lens that makes it not able to autofocus, its just no one bothers to try.
As a mostly stills photographer, it drives me nuts that all the manufacturers of photography lenses are so focused on only creating these perfect sterile lenses. Though I think part of it is because the customers seem obsessed with it. I remember when Nikon released the 58mm f/1.4G years ago they took so much crap for that lens not being able to resolve insane sharpness wide open but IMO that's one of the best lenses Nikon has ever made and I adore that lens because it was for for just a fleeting moment a still camera maker realizing there is more to life than sharpness so prioritized the sort of properties that cine lenses tend to be loved for. That lens is the softest modern lens I own yet it spends more time on my camera than all the rest of my lenses combined.
With all due respect, there are definitely cinematographers shooting sony and sigma glass on their ARRIs and REDs. sure they may not use the photo housed version of those lenses, but they ARE using the cinema version. the reason I make that point is that while they are using the cine housed version of those lenses, the optics are identical to the photo version, and so if a young filmmaker wants the look of top gun: mavrick then they know they can afford to do so by just getting the photo version. while it may not be the exact lens used on set, it has the same optical DNA.
Just something to point out for the budget audience. cheers!
Great point, plenty of amazing work shot on stills stuff. I think did a good job to not emphasize too heavily that the optical qualities of popular stills glass is "invalid". The general point made of helping entry level filmmakers to understand why cine lenses exist, ie. manual focus, usability, optical character, etc. was well put!
18-35 has been stuck to my Zcam s6 almost entire time I’ve had it - I have managed to soften and give it some character but it’s time to move on - focussed all my cash toward lighting and grip, need to give some attention to the glass !
I'm nearing the end of making my first rig (thanks to you and Caleb Pike for leading the way with that), and I had to go for the even more budget option and pick up the SLR Magic MicroPrimes. Been testing them a little, wish they were smoother, but finding them to be decent. I was eyeing the DZO Parfocal Cine Zoom Lens, but needed something a little faster.
I've never had a camera with even reasonable autofocus, so I've always pulled manually, but I've never done an amazing job at it (with photo lenses). Now that I use a follow focus on a cine lens instead of turning the ring manually, I'm finding I do a better job. One thing that autofocus can never do is anticipate what you want to be in focus as it's moving in the frame and pull accordingly (at least until AI figures that out).
You might consider the SLRMagic APO micro primes. The focus and aperture rings are very smooth, and the overall build quality is as good as the DZO offering. They also have the benefit of being an APO design, so chromatic aberration is greatly reduced on those lenses. :-) I know they've been used on B-cams and second-unit cams on bigger shows that were (primarily) shot on Alexa/Cooke Si packages. Of course, the DZO lenses are also very good. :-)
@@shawnmiller8169 Yeah, wish I'd known about the chromatic aberration before I got them, but it hasn't been too terrible. Probably would've gotten the DZO when they were on sale though if I'd realized it. Still pretty happy though.
Loved the storytelling in the review, I dig it when products are used in the wild so to speak. Feels less scripted and personal. Oh, and to know the projects that you used these on is shocking cuz they were great and you didn't have to break the bank for them! 😮💨🔥
Great Video man! Big fan of these lens'!
Thanks dude. Really impressed with these things. Let’s catch up soon
Hey! Great video...really appreciate everything you said, especially since I'm on the "buyer's platform", should I leap into the cinema lens? I really appreciate the "nudge" to go ahead and jump...thanks Bro.
Just purchased my first camera the BM 6K FF I’m sure I want a cinema lens but I’m lost on which one
For me this is one of the best Vespid reviews!
Awesome video man. I really appreciate your efforts and share similar sentiments. Bravo! 👏🏽👏🏽👏🏽
you ever try to use these with the x71 speed booster for full frame look on Komodo?
I have! A few of the shots in this were with the Metabones 0.71x booster. I thoroughly enjoy them with it
Samyang has some Auto focus cine lenses whose footage looks so good. I think the option for autofocus is important for shooters with small crews or solo filmmakers. They can shoot manual and change to auto when the convenience is needed. And for most people the insane prices of cine lenses is not worth it considering that some of the looks can be replicated with color grades.
ugh the komodo looks so good
It’s such a little champ I love it
Real Question: Would it be Better to shoot to dark and high contrast on set, then Pull it up and lighten in Post if you’ve stopped down to far? Vice Versa; or to shoot light and open, then pull it down if it’s not to your cinema taste?
Hey, please can you share some tips on how you colour graded the cooke segment of this video?
1:50 they do want that look, for capture, what they choose to do with it in post is another thing.
Coming from a AF lens, how would you keep the MF sharp with scenes that are moving, like those kitchen scenes with a handful of subjects/ pan being used. ? Curious to know?
is Autofocus for a talking head setup important? if you just sit in frot of the camera and select the mid with wide field should be good to go with a manual too right?
Manual focus will never be obsolete because of its symbiotic relationship with humans. The human touch and refined instinct cannot be replaced. Period. Autofocus and the evolution of Lidar systems has it's place and is a great addition to our swiss army knife as creators. Auto focus is a tool, manual focus is a blessing lol
Beginner filmmaker here. Never used autofocus because I have a very old camera. Manual focus is a different vibe.
Tho quite back breaking when operating and focusing without an external monitor lol
Best explanation as to why I should use a cinema lens! Btw what's the brand of that fog machine in the video?
Thanks so much man. I have a video on the fog machine, link will be there!
Thanks for this, Ryan. I'm getting myself a kit together in 2024 and definitely will be buying cinema glass and even more definately budget ones. I used the Samyang Lenses when I was studying and I liked them. These lenses seem fantastic also for their price which is a bit more than the Samyang, which I'm curious if you have used them before and how they might compare to DZO. Thanks.
Amazing Video... I am actually looking into DZO... I recently Purchased a few Cameras... Towards the Canon EF System... Canon M > Canon R5c > BM Production 4k Global Shutter
DZO Vespid and Catta Zoom Set...
by the way... Your Description.. you used "Vepsid" instead of Vespid
also... You showcased on many occasions thru this video the Mattebox Filter by SmallRig but... You did not post the Link to Purchase. You only posted the "Tilta Mattebox"
lol. you did not Edit the "Description... yet. lol
1 year later. lol
i wanted to ask... at 7m 50sec into the video.. you rolled a Stand with a very nice Studio Shooting Setup.
what Rolling Stand and Arms did you use?
1st comment. damn. happy new year bro. I wish you nothing but the best
Happy New Year!! Thanks so much for the support
I’ve spent so much time pulling focus that when I use autofocus I feel creatively limited.
Couldn’t agree more
hey dude awsome video can you plase share this stand name which is in 7:50... Please
Thanks man! I actually break down the stand in this video. Hope you like it. ruclips.net/video/42kT85rzcO0/видео.html
@@RyanKao thanks budyyy
My man called it aimbot autofocus lmao. Great video as always Ryan 🤙
Is there a Cooke Lut we can use to fake the Look they have?
Good video - I suspect the most challenging aspect of cinematography - once one has a decent camera/lens combo - is the lighting of shots (that aren’t outdoor scenes and the natural light, on the day, can be wholly relied upon); I’ve shot some outdoors stuff on a Komodo and a Canon photographic lens with some great results but put me in an indoors setting - and whether it’s a photo or a cine lens on the camera - I think my limited skills would be shown up !
Hey Ryan. Can I use a regular charger such as the REYTRIC Dual D-Tap (P Tap) Travel Charger to charge a CAME -TV V-Mount battery? Really need to know as I'm about to invest in a couple. Thank you.
DZO makes the best bang for the buck,esp with the Komodo. Hands down, their pictor zoom is clutch and their primes are perfect and affordable.
Amazing content. This exact set is next on my list. I will get the full set one day.
Great video Ryan! Really informative!
I'm impressed with the Vespids. Not my favorite out of the Cinema Primes I've used (the Tokina Vistas take that) but for the money....the Vespids are an incredible deal.
Did you mean tokina vista?
@@mr.eliezer lol yes. you'd think I knew that considering I shoot on them.
great video! What PL to RF mount do you use/recommend?
Great video about why its a great thing to use proper tools in the industry, expecially wanting to do videography for films. But you never mention what you use with manual lens, alot of videos ive watched say the same thing, about the lens and why its good to have a manual focus. You should also include how you use it for us beginners looking at manual lens. I know from studying at film school follow focus and having a focus puller but what about on your own. What do you use expecially in those adventure or quick moving shots if your by yourself (I would personally benefit from this question, Ive been struggling to get in focus shots while focusing on person in frame) Thanx
When I first switched to a cinema lens from the regular photo lenses most of us use the thing I liked the most was how imperfect the picture became, not as sharp as a razor but more soft and easier on the eyes. More cinematic if that is allowed to describe the picture quality.
This was an incredibly valuable video. Thank you.
My guy! It’s been a minute
Peter! Thanks for stopping by dude.
Great advice! Thanks for sharing your experience with these lenses. I'm certainly interested in what DZO has to offer. What follow focus grip are you using on the Komodo build?
I understand you can always ad dark contrast and you can’t ad light that is not there, But; What is best Practice for capturing Film Look in Camera?
What's your take on Samyang's Cine V-AF series?, Can the quality of it be considered as a cheap/budget cinema lens which also has a autofocus mode or does not count as such?
DUDE, great video! I def cant afford all 4 but man I'm going to pick up the 50 to start off with ^__^ thanks for the breakdownnn
Amazing video and review! Is there any close equivalent for affordable cine lenses like these for Sony's E mount?
I soften in post, either via Dehancer for pseudo film look or DFD for true organic qualities. But I want the purest signal possible from my camera, as I may use the footage for enlargements etc, and if I were to soften upstream via soft lens, diffusion filters, fog or just a pair of pantyhose, there would be no option to go back and add sharpness in post.
good points !!
Well said brother!
I need some new glass im shooting with the sigma art 18-35 still
Great presentation!
Glad you liked it! Thanks Chip!!
Are you getting the Sirui lenses on indiegogo?
I wish that creators and other RUclipsrs would stop being embarrassed about using words like “filmic” and “cinematic” when these terms perfectly apply to the craft you are working in. What other words would you use? I can’t think of any.
Besides my little rant here I really enjoyed your review and this is by far the best one out there for these lenses👍
Ryan, absolutely great content!
I have two questions if you don’t mind. 🙏🏻
What follow focus system would you recommend for a run and gun scenario for a starter in cine lens? A manual one like the pocket tilta oe something motorized like the nano?
And, I don’t know if you tried the Meike lenses. Would you recommend the DZO over them? I don’t know what to decide.
Again, thank you for this content everything you said in this video has helped me a lot.
So after using them for a year on loan, are you buying as set or are you looking at a different cinema lens set from another manufacturer?
Absolutely sticking with these and will be picking up the full set soon!