DZOFilm Arles Zoom 25-75mm & 65-180mm T2.6 FF PL Mount 2-Lens Bunle (metric)

From 25 mm to 180 mm, the stop never leaves T2.6. The DZOFilm Arles Zoom 25-75mm & 65-180mm T2.6 FF PL Mount splits that range between two parfocal cine zooms, a 3x wide and a 2.8x telephoto. They overlap from 65 to 75 mm and see about 71° to 11° across on full frame. Swap zooms mid-scene or match A and B cameras at one focal length: the framing holds. Working verité documentary, cinematographer Michael Richard Martin credits the pair with the range of eight primes: fewer lens changes, one exposure for every focal length.

Both zoom internally via a quad-synchronised cam mechanism: focus holds over the 100° zoom stroke, and barrel length and balance never shift. A gimbal, crane arm or remote head trimmed at 25 mm needs no retrim at 75. Focus turns 270° on a metric scale; the iris runs T2.6–T22 over 79.55° on the short zoom and 82.4° on the long one. Focus and iris gears (0.8 MOD) sit where they do on the eleven Arles primes, which share the 95 mm front and M86 thread: motors and matte box stay rigged.

The 25-75mm holds 22 elements in eight groups, seven ED and five HRI; the 65-180mm has 20, seven ED and two HRI. Fluorite-like glass keeps fringing and coma down, and DZOFilm rates both for 8K. The low-saturation blue coating is the Arles prime recipe, with warm, natural skin and restrained flare, so footage cuts against the primes and, one DP notes, Vespid 2 glass. Sixteen blades keep highlights round. Breathing is near zero at the long end, says DZOFilm; test the wide end before a big rack. Close focus: 0.51 m and 0.89 m from the sensor.

Coverage is a 43.5 mm full-frame image circle, smaller than the primes' 46.5 mm, so VistaVision bodies need a full-frame mode. PL comes fitted; an EF kit, Octopus adapters (E, L, Z, RF, X, DX) and the Marlin 1.4x extender are optional. With the Marlin on a mirrorless body, the pair becomes 35-105 mm and 91-252 mm at about T3.6–T3.7, covering select medium-format sensors. At 180 mm, a sideline interview ten metres away fills a 16:9 frame from the waist up. Dirt-repellent front glass and splash-resistant barrels suit desert and snow shoots, and one hard case carries the pair to car commercials, sport, drama and documentary series.