With the neutral coating, a horizontal streak takes the colour of whatever produced it. Turquoise underwater lamps in a hotel pool draw a turquoise line; red paper lanterns strung over a street festival draw a red one. The coating itself contributes no colour, so the flare never carries a hue the lighting did not put there. Streaks also stay scarce. Published tests report that a Pavo rarely flares until a hard source, most often the sun, looks directly into the lens. This version is marked in vermilion ink, the Blue line in cobalt. Restraint of that kind protects contrast, a quality Riccardo Suriano, writer, director and cinematographer of the 2024 short Bound by Blood, highlighted in an interview with DZOFilm: on an ARRI ALEXA Plus, his Pavos held extreme swings between light and shadow without losing realism, while stretched bokeh and wide frames carried the isolation of the film's otherworldly setting.

PL is the factory mount on all three lenses. One hard case carries them together with three EF bayonets and their EF rear caps, three shim sets, two screw packs, stickers and a screwdriver, plus front caps and PL rear caps. DZOFilm's manual calls for no shim adjustment after a mount change: eight screws come out on the PL side, seven go in for EF. If a given body sits slightly off, each barrel carries a rear ring (a Torx T6 screw holds it) that trims flange depth by ±0.2 mm with the lens still mounted; anything beyond that range goes back through DZOFilm's official service channel. The focus scale is metric and spans 270°, while the iris throw differs per lens (79°, 58° and 67°). Gear rings cut at 0.8 MOD line up across the 28, 40 and 75 mm, so a lens swap never means sliding motors along the rods. A single clamp-on matte box serves all three 95 mm fronts, and the M86 thread takes screw-in filters. Nothing electronic passes through the mount, so the second AC notes lens and stop for post.

Seen from the owner's side, this trio is the foundation of an anamorphic package rather than its limit. DZOFilm's B set (32, 55 and 100 mm) interleaves with and extends these focal lengths later, completing the six-lens range without a new matte-box ring, filters or motor brackets. Fitted with the Marlin 1.6x Expander (sold separately), the same glass covers full-frame and VistaVision sensors, turning into roughly 45, 64 and 120 mm lenses and trading around 1.5 stops of exposure for the larger coverage. Hired PL cinema bodies and the company's own EF cameras can then share a single anamorphic lens kit that pays its way across commercials, branded content, music videos and drama.