Close focus, which DZOFilm quotes from the focal plane, works out at 0.4 m for the 32 mm, 0.6 m for the 55 mm and 0.95 m for the 100 mm, figures that hold on the bare lens. For a hardware start-up, the 32 mm follows a 3D printer's nozzle laying down a first layer with the machine still readable around it. On the 55 mm, a fingertip easing open a foldable phone takes up the whole frame, and the 100 mm closes in on a saxophone reed against a player's lips during a jazz-club session.

PL comes fitted on all three, and they travel together in one rigid case lined with custom-cut foam. Packed beside each lens sit its own EF bayonet, EF rear cap and shim set, with protective caps for both ends, a pair of screw packs, a screwdriver and stickers making up the rest. DZOFilm's instructions rule out any shim adjustment after a mount change and ask only that the screws go in one at a time, in a symmetrical pattern. On a body whose infinity mark lands slightly off, each barrel's own flange-back ring takes over: slacken its T6 Torx screw, turn the ring, and flange depth moves by as much as 0.2 mm either side of nominal while the lens stays on the camera. DZOFilm recommends judging sharpness at T4 against a downloadable star target; a larger error is a matter for its official after-sales network. Focus travels 270° over metric scales. The iris needs 59° of rotation on the 32 mm and 63° on its 55 mm partner; for the 100 mm, DZOFilm's own documents disagree (69° online, 76° in the manual), so map a wireless iris motor on the lens itself rather than from a table. Cut at 0.8 MOD, the gear rings share one position along every Pavo barrel; one matte box clamps onto all three 95 mm fronts, and each front thread takes M86 filters. Cobalt ink marks this version's engravings. No contacts pass data to the camera, so lens and T-stop for VFX are logged by hand.

The B set is also one half of a larger plan. Its A-set counterpart, with the 28 mm, 40 mm and 75 mm, falls neatly between these focal lengths, giving six Pavos without a duplicate; further out, the 135 mm and 180 mm keep a 95 mm front, so matte box and filters move up the range with them. For full-frame bodies, DZOFilm sells the Marlin 1.6x Expander separately, in several camera-mount versions; it spreads the image over the larger sensor at a light loss the company puts at about 1.5 stops. Because mount swaps and back-focus trims happen at the prep bench, this three-lens anamorphic lens kit goes out on whichever PL or EF camera the next 2.39:1 brief requires, and the rental budget stays inside the production.