With the neutral coating, a horizontal streak stays uncoloured by the glass and draws its tint entirely from the light behind it. A caver's headlamp swinging straight into the lens in a cave passage leaves a warm white line across an outdoor-equipment film; low winter sun glancing off a frozen lake leaves a pale, cold one for a winter-tyre spot. In practice the streak is rare. Reviewers who tested the series saw it mainly with the sun inside the frame, while ordinary practicals seldom set one off. After dark, a frame crowded with light sources keeps its contrast: an airport terminal, departure boards and rows of downlights included, shows no stray lines across the shadows. Flare, in other words, is something the gaffer plans rather than something the colourist has to remove.

Delivery is in PL. For every lens, the single hard case adds an EF bayonet with its own rear cap and shims, plus two screw packs, a screwdriver, front and PL rear caps and stickers. According to DZOFilm's manual, the shim sets play no part in an EF conversion; the screws simply go back in opposite pairs. Where a camera's own flange depth is a touch off, a ring on the back of every barrel, locked by a Torx T6 screw, corrects it by up to ±0.2 mm without taking the lens off the camera. The check is made at T4 on a star chart DZOFilm offers for download; bigger errors go to an authorised dealer. All three focus rings travel 270°. Iris travel differs, 59° on the 32 mm, 63° on the 55 mm and longer on the 100 mm, and each lens needs its own profile on a wireless iris channel. The 0.8 MOD gear rings, by contrast, sit at matching heights on every Pavo barrel, and a lens change never sends anyone back to the rods with an Allen key. Their 95 mm front diameter accepts one clamp-on matte box, screw-in filters take an M86 thread, and with no electronic contacts on the mount, lens data for VFX is written down on set.

For a production company buying its first scope glass, this trio covers the core shot sizes: a 32 mm that still fits a whole room in, a 55 mm for singles and a 100 mm for tight coverage that the A set does not reach. Run the 55 and 100 mm side by side as A and B cameras on an interview, and the only correction between them is the 100 mm's slightly slower stop. Later, the A set's 28, 40 and 75 mm fill the gaps to complete the six-lens range, and the 135 and 180 mm share the same 95 mm front. Add DZOFilm's Marlin 1.6x Expander, a separate purchase, and the three lenses also reach full-frame and VistaVision sensors, behaving like 51, 88 and 160 mm optics for roughly 1.5 stops less light. Packed in one case and ready for PL or EF bodies from the day it arrives, it is an anamorphic lens kit that grows with the camera fleet.