2024.8.29
My name is Bryan Redding, and I am a U.S.-based Director of Photography who specializes in commercial work, music videos, and independent film.
1. What are your thoughts on the Vespid Prime and Gnosis Macro lenses after using them?
After using the DZOFILM Vespid Primes and Gnosis lenses over several weeks on a feature film, I was blown away by their quality, consistency, and look. The lenses' character was rich and full, with excellent contrast ratios that resulted in smooth, creamy skin tones. I was also impressed by their build quality and durability. Each lens was built like a tank and handled the rigors of a full film set with ease, even on gimbals and EasyRigs. Delivering such professional results at an accessible price point was a significant bonus on any independent film set.
2. Which camera did you use for the project Eidolon, and how did you find using the Vespid Prime and Gnosis Macro lenses with it?
I primarily used the RED Komodo for this project. The Vespid and Gnosis lenses helped me maximize the RED sensor, especially since I was shooting in 6K RAW. I needed lenses with the resolution and character to withstand high-resolution capture without breaking down. Reviewing the dailies, I quickly appreciated the quality these lenses provided. The Vista Vision frame of view was crucial as I used a 0.71x adapter to achieve a wider frame. I could use the entire line of glass without vignetting or other issues. The Vespid and Gnosis lenses proved to be ideal partners for the RED Komodo. Their compact size and form factor complemented the camera well, facilitating quick and easy Gimbal and EasyRig setups.
3. In what scenarios or types of scenes would you prefer to use Gnosis Macro lenses?
I found the macro capability of the Gnosis lenses remarkable, offering unique and fresh perspectives on subjects. I also appreciated their overall character in non-macro settings. Personally, I believe the Gnosis line excels in two main areas: commercial applications, where details are crucial, and narrative film work, where it opens up new storytelling possibilities by allowing close-up details that were previously challenging to capture without expensive lenses.
4. What is your favorite focal length in the set, and why?
I'm particularly fond of the 35mm prime lens, which became my main workhorse. I also frequently used the 50mm and 21mm. The visual consistency across the Vespid line impressed me; it was reassuring to switch between different focal lengths without altering the film's character.
5. Based on your on-set experience, what innovative features would you like to see in DZOFILM's future products?
I love fast cine glass, so a T1.5 version would be ideal, though I think DZOFILM addressed this need with their Arles line. The 2.1 aperture didn't compromise my feature. Additionally, lens communication of metadata with the camera would be a nice feature, but I would prefer to keep the swappable EF and PL mounts. Maintaining these mounts is an excellent feature that I wouldn't want to see changed.
