DZOFilm Catta Ace Zoom 2-Lens Kit (35-80/70-135 T2.9) Black PL & EF Mount (VV/FF)

VistaVision coverage holds from 35 mm to 135 mm with the DZOFilm Catta Ace Zoom 2-Lens Kit (35-80/70-135 T2.9) Black PL & EF Mount, because both zooms project a 46.5 mm image circle. No other Catta Ace pairing manages that: the 18-35 in the other bundles stops at a full-frame 43.5 mm. Large-format sensors up to that diagonal keep their whole frame on either lens. A Kinefinity MAVO Edge 8K, fitted with its PL adapter, sits well inside at 43.3 mm of sensor diagonal.

A ballet relayed live to cinemas shows how the pair divides the job. From the dress circle, 18 m back, the 35-80 spans about 18.5 m of stage at 35 mm and 8.1 m at 80 mm; on a second camera, the 70-135 runs from 9.3 m down to 4.8 m, a principal dancer at full length. The overlap between 70 and 80 mm lets both operators match shot size for a cut. Once shimmed, each parfocal zoom holds focus through a push-in during an adagio, at a constant T2.9. Breathing is restrained: racking from a soloist to the dancers behind her barely changes magnification. Practicals on the backcloth, thrown out of focus, keep a circular outline thanks to the 16-blade iris. In the wings, at 70 mm and 0.76 m from the sensor, the telephoto reaches 0.112x per DZOFilm's manual, so a pointe shoe being tied fills a frame about 32 × 21 cm.

The aluminium-alloy barrels place their 0.8 MOD gears identically, so FIZ motors move across untouched. Focus rotates 270°, handy as a dancer crosses the stage at 135 mm; zoom turns 100°, iris 75° or 80°. Their 80 mm fronts and M77 threads let both cameras share a matte box and filter kit. Optically, 20 elements in 15 groups (2.3x) face 17 in 11 (1.9x); both close to T22. No electronics, so nothing to update or pair.

Both lenses leave the factory in PL. Per lens, the kit adds an EF bayonet, a shim set, a support base with rod and caps, all in one hard case. DZOFilm's manual gives a 35-80 example: focus reading 1.4 m at 35 mm against 1.5 m at 80 mm calls for 0.12 mm of shim. LPL is sold separately for ARRI cameras; E, L, X and RF mirrorless bodies take the PL version via Octopus adapters. For a production company, that is 35–135 mm at T2.9 across two cameras, bought once, re-mounted per booking.