At Future Phantoscope, we understand that gear matters, but only as much as the hands behind the lens. That said, we also know how much of a difference the right gear can make, especially when you’re shooting fast, working lean, and pushing your visuals to punch far above their budget weight. For the past several years, our workhorse lenses have been the ever-reliable Rokinon cine primes (14mm, 24mm, 35mm, 50mm, and 85mm), and they’ve held up across a wide variety of music videos, narrative features, doc-style pickups, you name it.
I’ve also had many opportunities on various projects to work with or rent the beautiful set of DZO Vespid prime lenses. Most recently, I had spent four weeks working with a Vespid prime kit (12mm, 25mm, 40mm, 75mm, 90mm Macro, and 125mm) on a feature shooting across Florida and Virginia. After a month of real-world production with them, I can safely say: both sets have earned their place in a working filmmaker’s arsenal, but for different reasons.
Let’s start with image quality. Between the Rokinons and the Vespids, the Vespids are incredible and I won’t pretend that they aren’t a superior lens to the Rokinon, but hear me out. If you are building a working kit and not just renting for a gig, you have to think the price. Considering the price leap, you’re not getting a massive improvement in optical performance, especially if you’re shooting with layered filtration like Black Pro-Mist filters to soften contrast and shape highlights. Both lenses render beautifully when tuned with intention. They can handle cinematic color, depth, and texture with ease. The Rokinons, despite their reputation as “budget” lenses, are more than capable of delivering polished, professional images when paired with strong composition and lighting.
But where the Vespids clearly stand out is in the build quality. These lenses are built like tanks. They’re all-metal, solid, and considerably heavier than the Rokinons. That weight isn’t just about durability either, it actually improves function on set. Focus pulls are smoother, more consistent, and frankly, more confidence-inspiring. Gears stay locked in place. Follow focus units track more accurately. For ACs, that tactile solidity makes a real difference over long takes and long days. Simply put: the Vespids feel like they were built for serious field work.
By contrast, the Rokinons, while totally usable, can feel a little plasticky and featherweight, especially when racking focus or working with motorized systems. Over time, that difference shows in efficiency and reliability. But we still come back to them because they’re dependable, fast to deploy, and offer great focal range coverage at a fraction of the price. For smaller rigs, tight shoots, or high-risk setups, the Rokinons remain a smart and flexible choice.
Here’s where things get real for indie filmmakers: price. Rokinons are an incredible value. You can build out an entire kit for the cost of one or two Vespid primes. That makes them perfect for low-budget shoots, students, smaller crews, or any project where gear might take a beating.
The Vespids, by contrast, are significantly more expensive. But in return, you’re getting a lens that’s better suited for longer, more demanding shoot days and for productions where every technical advantage helps. That cost difference is something you must factor in during pre-production. Because while the Vespids can absolutely elevate a set’s workflow, they can also eat into a small budget fast.
The takeaway? The Vespids are a clear upgrade in feel and function, but not necessarily a quantum leap in image quality. If you’re already shooting with Rokinons and taking the time to shape your image in-camera, you’re getting strong cinematic results. But if your production demands longer days, tighter focus pulls, or just a sturdier on-set experience, the Vespids offer a clear advantage.
For us at Future Phantoscope, the Rokinons remain in our everyday kit. They’re workhorses. But when a project has the budget and the scope to rent up, the Vespids are an easy “yes.” They give us more confidence in the field and that confidence translates to smoother takes, cleaner shots, and a happier crew.
Ultimately, no lens can replace good lighting, storytelling, or blocking. But having the right tools makes a difference.
