Key Features

• 3-lens anamorphic prime set: 32mm, 45mm, 75mm
• Full-frame coverage with 43.3mm image circle
• 1.5× anamorphic squeeze for cinematic oval bokeh
• T2.1 constant aperture across all lenses
• Characteristic anamorphic flares with natural color response
• Unified compact design for easy gimbal use
• Consistent size, weight, and 77mm filter thread across set
• 270° focus rotation for precise manual control
• PL mount for professional cinema cameras
• Titanium finish with durable construction

Those beacons also show how the coating behaves. Arcana exists in one coating only, and a streak borrows the colour of its source: a blue lamp draws a blue line on any of the three lenses, with no amber or blue version to keep apart in the store room. According to Fstoppers the lenses rarely flare unless a source strikes the front directly, which puts any streak in the lighting plan.

Close work reveals a less obvious reason to own all three. At minimum focus (0.48, 0.53 and 0.78 m from the sensor plane) they fill the frame with nearly the same subject: by our calculation about 26, 22 and 21 cm of height on a 24 mm-tall sensor, from maximum magnifications of 0.092x, 0.111x and 0.116x. What changes is perspective and the air ahead of the glass, roughly 35, 40 and 65 cm. Inside a car the 32 mm gets there; with a bounce board to slide in beside the lens, the 75 mm leaves space.

Matched does not mean identical, and the three do part ways. The 32 and 45 mm use 15 elements in 13 groups, the 75 mm 15 in 11. Barrel distortion runs strongest on the 32 mm and weakest on the 45 mm in Fstoppers' test, and RedShark calls the two longer lenses mild. The same Fstoppers review ranked the 45 mm sharpest at T2.1, all three peaking near T5.6. Strict architectural verticals may need a correction pass on the wide shots.

Post has one setting fewer to track. With the cylinders leading the optical path, every lens keeps its 1.5x factor down to close focus, so footage can go through de-squeeze as one batch, as Fstoppers points out. The manufacturer links this arrangement to fewer mumps on faces.

On the rig, a lens change asks very little. Equal size and near-equal weight mean no rebalancing on a gimbal and no shifting of the focus motor, Fstoppers reports. The 0.8 MOD gears, M77 thread and 80 mm front carry across too, so one clamp-on matte box and one filter set serve the whole kit.

Focus rotation is 270°, read in metres, with extra travel near the close end. The iris needs 52.26° and 51.96° between T2.1 and T16 on the shorter lenses but 59.53° on the 75 mm, so a remote iris unit gets a separate calibration for that lens alone. DZOFilm also positions the series for the DJI Ronin 4D.

Coverage is a single calculation too: all three project a ø43.3 mm image circle, enough for 36 × 24 mm. On a Blackmagic PYXIS 12K in PL, the 12K 3:2 open gate has a 42.6 mm diagonal and yields about 2.29:1 after a 1.5x de-squeeze. Switch to the 9K Super 35 3:2 mode and the picture measures 2.25:1, while the horizontal ladder shifts to about 28, 40 and 66 mm by our numbers. The long end gains reach with no extra lens to carry.

Inside that case, each lens has its front cap and PL rear cap, joined by a shim box, a screw box, a T6 screwdriver and stickers. A single lens arrives in a carton, so the case counts for gear that goes on the road. Back focus relies on shims, camera by camera, and nothing adjusts without tools, so allow time on prep day if the kit moves between bodies.

PL mount is the sole option, which DZOFilm puts down to structural limits. A compact rear section clears VND drawers, and separately sold Octopus adapters reach Sony E, L-Mount and Canon RF cameras, handy if a mirrorless B camera shares the set with a PL A camera. Confirm 1.5x preview beforehand: some mirrorless models rely on recent firmware or an outboard display. Each lens can also be seated a quarter turn round for 9:16 edits.

With no Cooke /i and no metadata on board, the camera assistant logs focal length and stop manually. Barrels are aluminium alloy in a titanium tone, treated against fingerprints and specified for −30 °C to 70 °C; weather sealing is absent.

The range has edges. RedShark's crew turned to spherical telephotos for distance work, and its review asks for 90, 125 and 150 mm; nothing below 32 mm exists either. Within those limits, this full-frame anamorphic lens set carries brand films, music videos, short drama and documentary, and RedShark's reviewer ranks it among the best budget anamorphics he has used, pointing owner-operators towards it. Give us the camera, the recording format and the delivery ratio, and our team will go through coverage, de-squeeze preview and adapters with you before the Arcana 32/45/75 T2.1 3-Lens Set goes on order.