DZOFilm Linglung cinema zoom series: three focal lengths (18-35mm, 35-80mm, 75-200mm), T2.9 constant, parfocal design, 95mm front barrel. Budget-friendly option for professional productions.
All three lenses feature a 95mm front diameter, 320° focus rotation, and 110° zoom rotation. The minimum focus distance is 0.6m across all focal lengths. The lenses weigh between 2.8kg (18-35mm) and 3.2kg (75-200mm) and measure 200-220mm in length. Available mounts include PL, EF, and E-mount. The optical construction is based on 16-20 lens elements in 11-14 groups, depending on the model. An integrated parfocal system ensures constant sharpness when zooming.
DZOFilm announced the Linglung series in 2021 as a direct competitor to established cinema zoom manufacturers like Angenieux and Canon. Market launch occurred in 2022, initially with the 35-80mm, followed by the other focal lengths. DZOFilm thus positioned itself as the first Chinese company in the high-end cinema zoom segment. In 2023, the company expanded the series with special vintage coatings for the "Linglung Vintage" look.
The lenses are used in Netflix productions and international feature films, particularly where the budget for Angenieux optics is insufficient. The parfocal design allows for precise follow focus work without refocusing during zooming. The smooth bokeh and minimal focus breathing make them suitable for Steadicam and gimbal work. The T2.9 aperture across the entire zoom range reduces lighting requirements in available light situations.
Compared to Angenieux Optimo Zooms, the Linglung lenses offer 60% of the optical performance at 30% of the price. Against Canon CN-E Zooms, they score with greater aperture and parfocal construction. Sony FX9 productions often use the E-mount variant as a cost-effective alternative to Fujinon Premista Zooms. The Linglung series is particularly suitable for budget-conscious productions that still require cinema standards, but does not achieve the absolute image quality of Cooke or Zeiss Zooms.
Ich schätze die durchgehende T2.9-Blende und die parfokale Konstruktion – das spart mir ständige Schärfenachführung beim Zoomen. Die 320°-Fokusrotation gibt mir präzise Kontrolle, auch wenn die Objektive mit 3kg+ definitiv ein stabiles Stativsystem verlangen.
Die Linglung-Zooms ermöglichen mir fließende Brennweitenübergänge ohne Objektivwechsel, was den Rhythmus am Set erhält. Besonders bei emotionalen Szenen kann ich nahtlos von der Totale in die Nahaufnahme zoomen, ohne die Schauspielleistung durch technische Unterbrechungen zu zerstören.
Mit 12.000 Euro pro Objektiv koste ich nur ein Drittel von Angenieux-Equipment und erhalte trotzdem Netflix-approved Bildqualität. Das spart mir täglich 200-300 Euro Mietkosten gegenüber High-End-Alternativen – bei einer 30-Tage-Produktion macht das bereits den Kaufpreis aus.
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