Chinese manufacturer of affordable cine lenses combining professional features with budget-friendly pricing.
DZOFilm lenses consistently use T1.8 aperture for full-frame coverage and a 270° focus ring rotation for precise focus pulling. The Vespid Prime set includes eight focal lengths from 16mm to 125mm, all with an identical 95mm front diameter and 0.8 mod gears. The Marlin Zooms offer a constant T2.8 aperture across the entire zoom range, with the 20-55mm weighing only 1.95kg. All optics utilize low-dispersion glass and nano-coatings for flare reduction, enabling a contrast ratio of 85:1 at 40 line pairs/mm.
DZOFilm was founded in Hangzhou in 2019 and introduced its first Vespid Prime lenses in 2020. The Marlin Zoom series followed in 2021, achieving over 10,000 units sold within 18 months. The company collaborates with German glass manufacturers like Schott and manufactures on fully automated production lines. In 2023, DZOFilm expanded its portfolio to include Anamorphic optics and Super35-specific focal lengths.
Netflix productions such as "The Glory" (2022) utilized complete Vespid sets for a consistent visual language across different camera teams. The Marlin Zooms are frequently used in documentaries, as their 270° focus rotation also allows for manual follow focus without gears. Colorists appreciate the consistent color temperature of 5600K±50K between different focal lengths, which reduces grading effort. The compact design is particularly suitable for gimbal setups and handheld shots.
DZOFilm positions itself between consumer lenses from Sigma and high-end cine optics from Zeiss or Cooke. Unlike Canon CN-E or Sony FX optics, DZOFilm offers complete mechanical compatibility between all focal lengths. Rokinon Xeen lenses have similar specifications but do not achieve the same manufacturing quality in focus ring precision. For budgets exceeding 150,000 Euros, productions opt for Arri Signature Primes; within the 2,000-4,000 Euro per lens segment, DZOFilm dominates.
DZOFilm has introduced new anamorphic lenses with the Arcana series, positioned as an alternative to established manufacturers like ARRI. The lenses join the growing portfolio of the Chinese manufacturer, which is increasingly establishing itself in the professional segment. DZOFilm thus competes directly with traditional lens manufacturers in the high-end sector.
Ich schätze die konstante T1.8-Blende und identischen Frontdurchmesser – das bedeutet keine Mattebox-Anpassungen beim Objektivwechsel. Die 270°-Fokusrotation gibt mir die Präzision von High-End-Cine-Optiken, ohne dass ich mein Budget sprengen muss. Besonders bei Low-Light-Szenen hole ich mit T1.8 noch Details aus den Schatten, die mit anderen Zoom-Sets bei T2.8 verloren gingen.
Die einheitliche Bildsprache über alle Brennweiten ermöglicht mir nahtlose Schnitte zwischen verschiedenen Einstellungsgrößen ohne störende Farbverschiebungen. Mit der kompakten Bauweise kann ich auch in engen Räumen oder bei Verfolgungsfahrten arbeiten, ohne dass die Kamera-Crew durch schwere Optiken eingeschränkt wird. Das Bokeh bleibt über alle Brennweiten charakteristisch und unterstützt meine visuelle Erzählung.
Ein komplettes Vespid-Set kostet mich 25.000 Euro statt 80.000 Euro für vergleichbare Zeiss CP.3 – das ist Budgetspielraum für zusätzliche Drehtage. Die einheitlichen mechanischen Spezifikationen reduzieren den Zeitaufwand für Kamera-Setups zwischen Takes um etwa 30%. Bei internationalen Koproduktionen kann ich problemlos Equipment zwischen verschiedenen Units teilen, da alle DZOFilm-Objektive identische Workflow-Parameter haben.
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