DZOFilm Pavo 2x Anamorphic 3-Lens Kit (28/40/75mm T2.1) PL & EF Mount (S35) Blue

DZOFilm builds the Pavo A set in four versions, and the DZOFilm Pavo 2x Anamorphic 3-Lens Kit (28/40/75mm T2.1) PL & EF Mount Blue is the one that pairs a blue coating with focus scales engraved in metres. A single hard case holds three 2x anamorphic primes for Super 35, a 28, a 40 and a 75 mm, each stopping from T2.1 down to T22 and covering a 31.5 mm image circle. A neutral-coated twin and a feet-marked edition also exist; this one belongs with crews who measure and pull focus in metric, so the figure on the tape matches the figure on the barrel.

DZOFilm sorts its Pavo primes into three trios. Set A spans wide shot to close-up, set B (32, 55 and 100 mm) slots in between and adds a longer lens, and set C pairs a 65 mm macro with 135 and 180 mm telephotos. Only set A holds T2.1 on every lens, since the 100 mm stops at T2.4 and the C lenses at T2.5 or T2.8. When a scene is lit for shooting wide open, cutting from the 28 mm wide shot to a 75 mm reaction shot therefore never forces an ND change or a lighting tweak.

Each barrel has its own temperament. The 28 mm arranges 15 elements in 13 groups behind a 14-blade iris and keeps a trace of barrel distortion; at T2.1 its defocused background twists slightly toward the corners, an effect that fades as the iris closes and that stylised promos can happily lean into. The 40 and 75 mm share a 15-element, 14-group formula and 16 blades, so out-of-focus highlights settle into evenly drawn ovals, taller than they are wide, after de-squeeze. Iris rings turn 79° on the 28, 58° on the 40 and 67° on the 75 between wide open and T22.

With the blue coating, flare colour is settled before the camera rolls: warm or cold, the source draws a blue horizontal line. How often one appears is another matter. The cylindrical elements sit mid-barrel, just behind the focusing group, and hands-on testing found that a streak seldom crosses the image unless the sun sits in shot or close to its edge. Low sun skimming across the rows of a solar farm will draw the line for an energy company's brand film, whereas a vertical farm glowing under ranks of grow lights stays free of stray lines. Reviewers rate the blue rendering as the more contemporary of the two Pavo options, a fit for science fiction, tech launches and high-end commercials.