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.
Instead of €5,098.00
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.
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| Specification | ||||
|---|---|---|---|---|
| Focal Length | 35-80 mm | 70-135 mm | ||
| Colour | Black | |||
| Mount | PL | EF | PL | EF |
| T-Stop | T2.9-T22 | |||
| Image Circle | ø46.5mm (VV/FF) | |||
| Optical Construction | 20 Elements in 15 Groups | 17 Elements in 11 Groups | ||
| Flange Distance | 52mm (PL) | 44mm (EF) | 52mm (PL) | 44mm (EF) |
| Close Focus (from sensor plane) | 0.74m/2ft5in | 0.76m/2ft6in | ||
| Zoom Ratio | 2.3X | 1.9X | ||
| Iris Control | Manual (rotation angle 75°) | Manual (rotation angle 80°) | ||
| Focus Control | Manual (rotation angle 270°) | |||
| Zoom Control | Manual (rotation angle 100°) | |||
| Front Dia. | ø80mm/3.15" | |||
| Length | 179.5mm/7.07” (PL) | 187.5mm/7.38” (EF) | 179.5mm/7.07” (PL) | 187.5mm/7.38” (EF) |
| Iris Blade | 16 | |||
| Filter Size | M77 | |||
| Gear Pitch | 0.8 Mod | |||
| Material | Aluminum Alloy | |||
| Weight | ≈1635g | ≈1710g | ||
Data sheet
Specific References
