Every streak a hard light draws across the DZOFilm Pavo 2x Anamorphic 6-Lens Kit (28/32/40/55/75/100mm T2.1/T2.4) PL & EF Mount Blue comes out the same blue, from the 28 mm master shot to the 100 mm close-up. All six primes share one blue coating, so the colour of a flare changes neither with the light that triggers it (low sun, a sodium streetlamp, an LED panel) nor with the focal length that catches it. DZOFilm finishes the markings of this version in cobalt ink and those of the neutral one in vermilion, which keeps the two sets apart at a glance on a shared lens cart.
Behind that signature sits a matched Super 35 set with a constant 2x anamorphic squeeze and a 31.5 mm image circle. A 6:5 recording area unsqueezes to 2.4:1, while 4:3 gives 2.67:1 and leaves margin for a scope crop. The 28, 32, 40, 55 and 75 mm reach T2.1 wide open, the 100 mm T2.4, and every lens closes to T22. The 28 mm is the odd one out: a 14-blade iris, gentle barrel distortion and a slight spiral in the defocused background wide open, a period flavour that suits music promos. The other five have 16 blades and render out-of-focus practicals as clean, evenly outlined ovals. Formulas differ by focal length, 14 or 15 elements each, yet DZOFilm matches colour and contrast across the range so that cuts between lenses hold together.
The blue Pavos flare if the lighting asks for it, not in every frame. DZOFilm mounts the cylindrical group in the middle of the optical path, right after the focusing elements, and reviewers credit that layout with keeping stray light low; in their hands-on tests a streak generally needed a hard source shining into the front element, most often the sun. For the gaffer, that means control. Low sun flicking through a helicopter's rotor as it lifts off can carry the blue line across an air-ambulance recruitment film, and snowcat headlamps grooming a piste at night do the same for a ski resort, while the lit chalet windows behind them leave the blacks undisturbed. The result reads as contemporary and sits comfortably in science fiction, technology launches and premium commercials.
Instead of €16,494.00
Every streak a hard light draws across the DZOFilm Pavo 2x Anamorphic 6-Lens Kit (28/32/40/55/75/100mm T2.1/T2.4) PL & EF Mount Blue comes out the same blue, from the 28 mm master shot to the 100 mm close-up. All six primes share one blue coating, so the colour of a flare changes neither with the light that triggers it (low sun, a sodium streetlamp, an LED panel) nor with the focal length that catches it. DZOFilm finishes the markings of this version in cobalt ink and those of the neutral one in vermilion, which keeps the two sets apart at a glance on a shared lens cart.
Behind that signature sits a matched Super 35 set with a constant 2x anamorphic squeeze and a 31.5 mm image circle. A 6:5 recording area unsqueezes to 2.4:1, while 4:3 gives 2.67:1 and leaves margin for a scope crop. The 28, 32, 40, 55 and 75 mm reach T2.1 wide open, the 100 mm T2.4, and every lens closes to T22. The 28 mm is the odd one out: a 14-blade iris, gentle barrel distortion and a slight spiral in the defocused background wide open, a period flavour that suits music promos. The other five have 16 blades and render out-of-focus practicals as clean, evenly outlined ovals. Formulas differ by focal length, 14 or 15 elements each, yet DZOFilm matches colour and contrast across the range so that cuts between lenses hold together.
The blue Pavos flare if the lighting asks for it, not in every frame. DZOFilm mounts the cylindrical group in the middle of the optical path, right after the focusing elements, and reviewers credit that layout with keeping stray light low; in their hands-on tests a streak generally needed a hard source shining into the front element, most often the sun. For the gaffer, that means control. Low sun flicking through a helicopter's rotor as it lifts off can carry the blue line across an air-ambulance recruitment film, and snowcat headlamps grooming a piste at night do the same for a ski resort, while the lit chalet windows behind them leave the blacks undisturbed. The result reads as contemporary and sits comfortably in science fiction, technology launches and premium commercials.
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Mechanical consistency counts as much as optics once a shooting day gets tight. Cinematographer Garrett Samodel shot the horror series The Dolls for director Connor Wilke with Pavo anamorphics on a Blackmagic URSA Mini Pro 4.6K G2, with a crew of nearly fifty. Speaking to DZOFilm, he said the lenses handled everything from candlelit interiors to harsh exterior sun, crediting their fast aperture and coatings. Two details stood out for him: gear rings that fall in the same place on every lens, so changes never meant touching the focus motor, and the built-in back-focus adjustment, which he ranked among the set's biggest practical gains.
Those details run through the whole kit. Focus turns through 270° against metric scales, every ring is cut at 0.8 MOD, and each 95 mm front takes the same clamp-on matte box and M86 screw-in filters. The closest focusing distances, taken at the sensor plane, are 0.4 m for the 28 and 32 mm, then 0.45, 0.6 and 0.84 m, and 0.95 m for the 100. On the 32, a sushi chef's blade drawing through a slice of tuna fills the frame; on the 75, so do a boxer's taped knuckles before the bell, with no close-up filter in front. Each lens leaves the factory in PL and comes with a dedicated EF bayonet plus a matching rear cap. The kit adds front and PL rear caps, screw packs, six shim sets, a screwdriver and stickers, all split across two hard cases of three lenses, so a B camera or second unit can take one case away for the day. According to DZOFilm's manual, the switch to EF needs no shim adjustment. If infinity needs touching up afterwards, a rear flange-back ring, locked by a T6 Torx screw, corrects it on the camera over a ±0.2 mm range; larger offsets are a job for dealer service. There are no electronic contacts, so focal length and stop go on the camera report.
Light by 2x anamorphic standards, the six lenses fly on gimbals, Steadicam and drones. With DZOFilm's Marlin 1.6x Expander, sold separately, they also cover full-frame and VistaVision sensors for roughly 1.5 stops of light. For a production company that sells a recognisable look, this anamorphic lens kit turns the blue streak into a house signature on every shot size, across PL cinema cameras and EF bodies alike.
| Specification | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Focal Length | 28mm | 32mm | 40mm | 55mm | 75mm | 100mm | ||||||
| Colour | Space Grey+Black | |||||||||||
| Flare Option | Blue | |||||||||||
| Mount | PL | EF | PL | EF | PL | EF | PL | EF | PL | EF | PL | EF |
| T-Stop | T2.1-T22 | T2.4-T22 | ||||||||||
| Image Circle | ø31.5mm (S35) | |||||||||||
| Optical Construction | 15 Elements in 13 Groups | 15 Elements in 14 Groups | 14 Elements in 13 Groups | 15 Elements in 14 Groups | 14 Elements in 13 Groups | |||||||
| Flange Distance | 52mm (PL) | 44mm (EF) | 52mm (PL) | 44mm (EF) | 52mm (PL) | 44mm (EF) | 52mm (PL) | 44mm (EF) | 52mm (PL) | 44mm (EF) | 52mm (PL) | 44mm (EF) |
| Close Focus (from sensor plane) | 0.4m/1ft4in | 0.45m/1ft6in | 0.6m/2ft | 0.84m/2ft9in | 0.95m/3ft1in | |||||||
| Squeeze Factor | 2X | |||||||||||
| Iris Control | Manual (79°) | Manual (59°) | Manual (58°) | Manual (63°) | Manual (67°) | Manual (69°) | ||||||
| Focus Control | Manual (270°) | |||||||||||
| Front Dia. | ø95mm/3.74" | |||||||||||
| Length | 106.3mm/4.19" | 105.7mm/4.16" | 107.6mm/4.24" | 108.4mm/4.26" | 126.9mm/4.99" | 143.1mm/5.63" | ||||||
| Iris Blade | 14 | 16 | ||||||||||
| Filter Size | M86 | |||||||||||
| Gear Pitch | 0.8 Mod | |||||||||||
| Material | Aluminum Alloy | |||||||||||
| Weight | ≈1203g | ≈1278g | ≈1300g | ≈1262g | ≈1466g | ≈1654g | ||||||
Data sheet
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