Close focus is where these lenses break with old anamorphic habits. Measured from the sensor plane, the 28 and 32 mm reach 0.4 m, the 40 mm 0.45 m, the 55 mm 0.6 m, the 75 mm 0.84 m and the 100 mm 0.95 m. On a skincare commercial, the 32 mm can sit close to a model's cheek and still turn background highlights into soft ovals; on a car spot, the 75 mm frames the stitching of a leather steering wheel with nothing added in front of the glass. The 28 mm carries a 14-blade iris and the other five use 16 blades, so out-of-focus points keep their elliptical shape when you stop down a little.

With the neutral coating, flares take the colour of whatever causes them instead of turning everything blue. Headlights on a wet road streak warm white, a magenta LED wall behind a band streaks magenta, and product colours in a brand film stay where the client's guidelines put them. The optical formulas, 14 or 15 elements depending on focal length, keep chromatic fringing low at T2.1, which shows on backlit hair or chrome trim. DZOFilm specifies negligible focus breathing even at the long end, so a slow rack between two actors does not give itself away with a visible size jump. Vermilion markings let a lens technician sort this version from blue-coated Pavos without reading a single label.

Mechanically, the six act as one tool. A single 95 mm clip-on matte box serves all six fronts, filters thread at M86, focus turns through 270°, and all rings use 0.8 MOD gears in consistent positions, so a lens swap leaves follow-focus motors and their brackets exactly where they were. Iris throw is the only variable, from 58° on the 40 mm to 79° on the 28 mm, so a wireless iris motor needs its own mapping per focal length. Compact aluminium-alloy barrels let the set ride on gimbals, Steadicam arms and heavy-lift drones.

Each lens ships on a PL mount, with an EF bayonet, EF rear cap, shim washers, screw packs and a screwdriver packed alongside. A PL cinema body and an EF camera on the same job, or an EF-adapted mirrorless unit on a gimbal, can therefore share one set of glass. Built-in back-focus adjustment trims collimation while the lens stays mounted, so a body swap on location does not become a bench session.

Room to grow is part of the package. Behind the DZOFilm Marlin 1.6x Expander, the six primes cover full-frame and VistaVision sensors, turning into roughly 45, 51, 64, 88, 120 and 160 mm in exchange for about 1.5 stops of light, and the 65 mm macro T2.8, 135 mm T2.5 and 180 mm T2.8 Pavos slot into the same family later. For a production house weighing ownership against weekly hire, a matched anamorphic cine lens set that fits PL and EF bodies now, and can follow the company onto bigger sensors later, keeps earning across series, commercials and music videos.