DZOFilm Pavo 32mm 2x Anamorphic T2.1 PL & EF Mount (S35) Blue

    DZO-PA3221PLMB
    Price: €2,749.00
    No tax
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    Available from supplier (Delivery time to be confirmed.)

    Picking the wide lens for a blue-flare Pavo package usually comes down to 28 or 32 mm, and the DZOFilm Pavo 32mm 2x Anamorphic T2.1 PL & EF Mount Blue differs from its wider sibling in three practical ways. Its iris has 16 blades instead of 14, giving smoother defocused ovals. The iris ring needs 59° of travel rather than 79°. And it belongs to the B set with the 55 and 100 mm, while focusing just as close: 0.4 m, measured from the sensor.

    The blue coating fixes the colour of every horizontal streak: a tungsten fresnel, a bare household bulb and a white LED tube all leave the same cool line. For gaming, consumer-tech or automotive brands, that sameness becomes a signature the colourist need not rebuild. Flaring is held in reserve. With the cylindrical group behind the focusing elements, a night frame full of practicals stays clean; the streak appears when a hard source hits the front glass head-on, say a follow spot crossing the lens at a game launch.

    Coverage is Super 35, from a 31.5 mm image circle. With the supplied EF bayonet fitted, it mounts directly on EF bodies such as the Blackmagic Pocket Cinema Camera 6K Pro. That camera's 3.7K 6:5 anamorphic mode reads about 14 × 11.7 mm of sensor and de-squeezes to 2.4:1; there the 2x anamorphic 32 mm sees roughly 47° by 21°, framing an interviewee and the studio monitor behind, not a sweeping vista. Close focus fills the frame with a controller in a player's hands. Near that distance at T2.1, backgrounds take on a gentle Petzval-like twist that stopping down tames.

    PL is factory-fitted. The EF bayonet comes boxed with screws, a shim kit and a screwdriver; the manual specifies no shims after the change, so conversion stays in-house, and the back-focus ring trims ±0.2 mm on the body. Focus turns 270°, gears at 0.8 MOD sit where they do across the B set, and the 95 mm front suits clamp-on matte boxes and M86 filters. Scales are metric, blue ink accents mark the barrel, and there are no data contacts. A Marlin 1.6x Expander, bought separately, takes it to full frame. For a studio selling the blue streak as a house look, the 32 anchors the B set; the 55 and 100 mm that complete it match its coating and gears.

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    Specification
    Focal Length32mm
    ColourSpace Grey+Black
    Flare OptionBlue
    MountPLEF
    T-StopT2.1-T22
    Image Circleø31.5mm (S35)
    Optical Construction15 Elements in 13 Groups
    Flange Distance52mm (PL)44mm (EF)
    Close Focus
    (from sensor plane)
    0.4m/1ft4in
    Squeeze Factor2X
    Iris ControlManual (59°)
    Focus ControlManual (270°)
    Front Dia.ø95mm/3.74"
    Length105.7mm/4.16"
    Iris Blade16
    Filter SizeM86
    Gear Pitch0.8 Mod
    MaterialAluminum Alloy
    Weight≈1278g
    DZO-PA3221PLMB

    Data sheet

    Lens Mount
    Canon EF
    PL Mount
    Focal Lengths
    32mm
    Maximum Aperture
    T2.1
    Lens Format Coverage
    Super 35mm
    Lens Type
    Anamorphic
    Cinema Lens
    Prime

    Specific References

    ean13
    6970604941822
    mpn
    DZO-PA3221PLMB

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    DZOFilm Pavo 32mm 2x Anamorphic T2.1 PL & EF Mount (S35) Blue

    Picking the wide lens for a blue-flare Pavo package usually comes down to 28 or 32 mm, and the DZOFilm Pavo 32mm 2x Anamorphic T2.1 PL & EF Mount Blue differs from its wider sibling in three practical ways. Its iris has 16 blades instead of 14, giving smoother defocused ovals. The iris ring needs 59° of travel rather than 79°. And it belongs to the B set with the 55 and 100 mm, while focusing just as close: 0.4 m, measured from the sensor.

    The blue coating fixes the colour of every horizontal streak: a tungsten fresnel, a bare household bulb and a white LED tube all leave the same cool line. For gaming, consumer-tech or automotive brands, that sameness becomes a signature the colourist need not rebuild. Flaring is held in reserve. With the cylindrical group behind the focusing elements, a night frame full of practicals stays clean; the streak appears when a hard source hits the front glass head-on, say a follow spot crossing the lens at a game launch.

    Coverage is Super 35, from a 31.5 mm image circle. With the supplied EF bayonet fitted, it mounts directly on EF bodies such as the Blackmagic Pocket Cinema Camera 6K Pro. That camera's 3.7K 6:5 anamorphic mode reads about 14 × 11.7 mm of sensor and de-squeezes to 2.4:1; there the 2x anamorphic 32 mm sees roughly 47° by 21°, framing an interviewee and the studio monitor behind, not a sweeping vista. Close focus fills the frame with a controller in a player's hands. Near that distance at T2.1, backgrounds take on a gentle Petzval-like twist that stopping down tames.

    PL is factory-fitted. The EF bayonet comes boxed with screws, a shim kit and a screwdriver; the manual specifies no shims after the change, so conversion stays in-house, and the back-focus ring trims ±0.2 mm on the body. Focus turns 270°, gears at 0.8 MOD sit where they do across the B set, and the 95 mm front suits clamp-on matte boxes and M86 filters. Scales are metric, blue ink accents mark the barrel, and there are no data contacts. A Marlin 1.6x Expander, bought separately, takes it to full frame. For a studio selling the blue streak as a house look, the 32 anchors the B set; the 55 and 100 mm that complete it match its coating and gears.

    Write your review

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