I appreciate that! and yeah, that is true. There are a lot of videos on TH-cam 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.
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.
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
On most laser measures, the measurement starts at the bottom of the laser, not the top where the laser comes out! It's so you can measure the distance between two spans without having to do the math of minusing the length of the device. You can confirm that with a tape measure
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 TH-cam 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. 😅
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.
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.
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.
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
Hey @CineDailies I saw at 3:45 you showed the Vespid on a Metabones speed booster for X mount. I've been trying to do the math with which lenses fit on that speedbooster (since it's really just designed for Zeiss CP2/3) can you confirm that all the Vespids work with that metabones speed booster? Issue mainly is with physical protrusion as I'm sure youre aware!
Would also want to know this. I just ordered a Vespid Prime 21mm to use with my Metabones Canon EF Lens to FUJIFILM X-Mount T CINE Speed Booster ULTRA 0.71x Adapter but I'm unsure whether it will work properly?
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.
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!
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.
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.
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
@@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
@@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!
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.
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.
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?
Hey at 4:40 you say it has accurate marking, but then the lens goes PAST the 0.28, is there something I'm missing? Are they supposed to go past the mark?
This is typical for lenses to go past infinity or minimum. All of my cine lenses go past the mark but doesn't mean its not accurate. This is why we map our lenses with focus units
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.
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
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
Watch more test footage here! th-cam.com/video/qspuGcdEDXg/w-d-xo.html
Man these look so good, but your cinematography here and the examples are sublime.
You're to kind bro! Thanks for watching!
This is one of the best looks I've seen of these. Most videos of these look TOO vintage. It's good to see they can look MORE normal and standard color
I appreciate that! and yeah, that is true. There are a lot of videos on TH-cam 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.
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.
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
Rent them out first to make sure you'll like them bro 🙏🏽
Damn, I really love this style of video for you man. Love these lenses and love this review with SO MUCH FOOTAGE. Crushed it.
On most laser measures, the measurement starts at the bottom of the laser, not the top where the laser comes out! It's so you can measure the distance between two spans without having to do the math of minusing the length of the device. You can confirm that with a tape measure
I was at CVP all week man - I mentioned you to everyone. Love the work
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 TH-cam 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. 😅
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.
LOVE your breakdown here, man! Subscribed. Been looking at these vs. Xeens vs. Dulens and this was extremely helpful. Thanks so much for sharing!
Bro I just picked up the Vespid 40mm!! After using these on a commercial last year, I absolutely loved them. And that VV coverage is awesome!
CAVVVVV - hope you're well! And yeah man. I'm very happy with the vespids
@@CineDailies you as well bro! Would love to get together sometime soon! Coffee + camera talk lol
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.
I wish I could have shown more footage of the projects I filmed but they are still being edited!
Do you like this lens review style?
Stoked to see the finished film! Actually loved the examples and the way it was cut together
I loved this style of lens review! Especially the editing.
@@masontromero thanks Mason! Yeah I'm excited too!
@@lukegoode7899 awesome! Thanks for letting me know
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.
Great lenses! I have the 16,24,35 and 90 macro and the 16 and 35 get used the most.
thanks for the detailed video! love the helios shoutout when you were talking bokeh, have that lens it's fun.
Thanks for watching! And totally - love that character out of that lens!
Yo bro! Such a good video! Really enjoyed the attention to detail that you put into it!
I appreciate you fam!
Man, I’m sold on these lenses! 🎉
How can THAT be posible. That 40mm paired with the XH2s is criminal. I must have it! haha. Do you have a video to see that combo in action?
Great stuff. Id actually be very curious how these match up with the 20-55 DZO zoom lens
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
Hey @CineDailies I saw at 3:45 you showed the Vespid on a Metabones speed booster for X mount. I've been trying to do the math with which lenses fit on that speedbooster (since it's really just designed for Zeiss CP2/3) can you confirm that all the Vespids work with that metabones speed booster? Issue mainly is with physical protrusion as I'm sure youre aware!
And was it PL or EF speedbooster?
Would also want to know this. I just ordered a Vespid Prime 21mm to use with my Metabones Canon EF Lens to FUJIFILM X-Mount T CINE Speed Booster ULTRA 0.71x Adapter but I'm unsure whether it will work properly?
🤤 loving these frames bro
🔥🔥🔥 fire video per usual
Thanks fam!
Learning a lot! Thanks
Thanks for watching!
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?
The metabones locking EF. .71x
@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.
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!
@CineDailies Nice review, man. I'm considering picking up one or two of these. I appreciate you being honest about your bougieness. 😂
Great review! Getting very close to that purchase button... 😅
Haha thanks for watching Brandon! Yeah man, if anything, rent a set!
Did you try the Moment anamorphic adapter on these? Feels like a good pairing.
I did hehe a video is coming soon
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 great vid! Well done! Any image degradation when used with Metabones Ultra .71 booster?
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
@@CineDailies But aside from vignetting and fall off - still sharp?
@@altercinema4311 Relatively. It's hard to say - idk how you perceive sharpness
Why did u switch to ef ? Do you think they look and perform better keeping it as pL mount without metabones speed booster ?
How do these compare to the Slr apo micro primes been thinking about those or these vespids and I believe you have used the ef micro primes correct?
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.
Purely on an image standpoint, how you think they compare to SLR Magic APO Primes?
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
Hiii, I brought the 25mm in this lens. I also have the BMPCC 6k pro and I’m not sure how to and if I need to use the shims
I’m still not confident 😂
I can help ! Are you in our discord? Send me a message and we can video chat
@@CineDailies ohh yay!! No I’m not! Send me the link or I’ll just look in your description
@@jazminforbes209 discord.com/invite/GYvYFdZEWv
@@CineDailies ok, don’t judge lol but just made a discord profile for the first time in myyyy life 😬 lol. I followed!
Does the DZO lenses work with the Moment Anamorphic adapter. I was going to pick up the vespid or catta 35-80 ff
Yes they do:)
@@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
Great roundup, now if you could only afford one to start with, which would you pick in between the 21mm & 40mm?
For super 35 and full frame. the 21mm
@@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 hard to say, i havent compared the 21mm vs the 25mm. are you able to rent?
@@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!
Great content as ever! I'm torn between these and the Nisi Athena's - which do you prefer? I'm kinda leaning towards the Athena's.
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.
Damn these look good 👀
🙇🏽♂️🙌🏽
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.
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?
Hey at 4:40 you say it has accurate marking, but then the lens goes PAST the 0.28, is there something I'm missing? Are they supposed to go past the mark?
This is typical for lenses to go past infinity or minimum. All of my cine lenses go past the mark but doesn't mean its not accurate. This is why we map our lenses with focus units
Notice any color shifts in your set?
Noticed that my 21mm is a lot warmer than my 40mm
Not that I've noticed. But it isn't a huge concern. Grading in davinci makes matching easy
Great review.
Thanks for watching!
Fantastic video
Thanks! 😃
If you wanted to get a sort of deep focus / wide angle look , which lens would you get
Deep focus? You mean stopping down? Any wide angle lens really
thanks for video!!
is it possible to clamp 16mm to mattebox? I think the end of 16mm's thread is werid shape
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.
GOOD EYE - I forgot to tag it but I used a 1/8 glimmerglass on the art / kitchen / dining room shots .
I appreciate the the comment!
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
So how do you attach a matte box on the 16mm lens?
With an adapter
@@CineDailiesI’m trying to find one but no luck 🤦🏻♂️
@@videodepot @smallrig
@@CineDailiesthanks 👍
Ive noticed lot of chromatic abberation on 2.1 with 40mm, is it normal?
The 21 had more CA than the 40
@@CineDailiesi meant 2.1 iris. But i also want to buy 21. That’s not good news as 40 already has a lot of CA
laowa 12mm or dzo16mm?
what follow focus is that?
It's the wooden camera zip focus. Freakin worth it
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.
I'm not exactly sure what you're asking? So can you rent then out?
The color rendering seems pale in this lens. Is that your grading or is it the lens?
@@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
How these compares to the meike s35 or full frame im trying to pick up a set to complement my Zeiss contax set
I don't like meike to be honest so I wouldn't know howd they compare.
@@CineDailies oh darn bad experience? I’m just trying to see if the vespers are worth the price tag I want a nice 24 and 50mm
wait is that mic clamped in a gobo head at 8:16 lol
Yes it is - old hack works like works like a charm
@@CineDailies That's awesome haha, I'll remember that!
What monitor headphones do you use?
I have the rode head phones and audiotechnica
Nice one 🙏
🙌🏽
What's the focus breathing like on the 21mm?
Little breathing
@@CineDailies is it like the 16mm? Can you compare it?
@@cubul32 I didn't use the 16m that much. Besides - youn typically don’t do a lot of focus pulls with ultra wide angles.
@@CineDailies You're right, but I was curious to know its properties. Did you get to use the 12mm as well?
Not yet, it's seem very promising
do these fit the sony a7iii and the sony fx3?
Yes
You'll need a PL to E adapter - I use meta bones or get the DZOfilm one
There's no sound??
In the video? Did you unmute your sound lol
@@CineDailies tried everything 🥲
@@dhritimanmandal3991 🤷🏽♂️ the audio is fine. Did you restart you computer? Watch on a phone?
@@CineDailies tried watching in every device in my house 😂😂 is the audio not available in my region or wot?
@@dhritimanmandal3991 dang man that sucks lol idk what to say
☺️
😆
To each their own I just don’t see any real character to these lenses. They seem to me like the meike or Rokinon cine lenses
Not the same but cool 👍🏾
Your explanation of t stops is actually the exact opposite of how it works.
okay school me...If t-stop doesn't mean "The exact transmission of light coming out of the lens (and hits the sensor)." then what's the definition?