Twelve millimetres is where the DZOFilm Pictor Zoom 3-Lens Kit (12-25/20-55/50-125 T2.8) Black PL & EF Mount (S35) begins: two millimetres wider than the 14-30-based Pictor set, or about 92° of horizontal view on Super 35. The trio then runs to 125 mm, roughly 11° across, matching 17–180 mm on full frame, all at T2.8. At a theatre recording, the 12-25 holds the whole stage from the control booth while a second camera on the 50-125 isolates one actor. Overlaps at 20–25 and 50–55 mm keep shot sizes continuous across a lens change.
Lens changes leave the rig alone. Focus travels 270° and zoom 100° on all three barrels, iris rotation is 64.4°, 65° and 72°, and the 0.8 MOD gears sit at identical points on each. Firm end stops let one reviewer calibrate wireless motors with a single button press. Every front measures 95 mm with an M86 thread, so one matte box and ND set serve the trio. Each ships in PL with an EF bayonet, shims, rod support and caps, all inside a foam-lined hard case.
Shimmed to its camera, each parfocal cine zoom keeps focus through the range, while a floating focus group limits breathing: a rack from presenter to product on a desk barely changes image size. The 12-25 packs 21 elements into 15 groups; the 20-55 and 50-125 carry 18 each, in 15 and 13 groups. Reviewers describe a warm, gently soft rendering that flatters skin; sixteen blades keep defocused highlights round, and at small apertures point sources form little stars. Close focus from the sensor is 0.4, 0.6 and 0.8 m; at 55 mm the nearest frame is about 19 by 15 cm, room for a phone screen and the thumb on it in a tech-review insert.
Some limits matter before ordering. Fitted with EF, the lenses belong on mirrorless or cinema bodies; DZOFilm excludes EF DSLRs. Mounts are passive, so lens data don't goes on the camera report, and the rear element protrudes too far for focal reducers. Octopus adapters open Sony E, Canon RF, L-Mount, Fujifilm X and Nikon Z bodies, and with DZOFilm's Marlin 1.6x the kit becomes a 19.2–200 mm set at about T4.7, covering full frame and VistaVision. That keeps this Super 35 cine zoom kit in service once the camera fleet moves to larger sensors.
Instead of €4,027.00
Twelve millimetres is where the DZOFilm Pictor Zoom 3-Lens Kit (12-25/20-55/50-125 T2.8) Black PL & EF Mount (S35) begins: two millimetres wider than the 14-30-based Pictor set, or about 92° of horizontal view on Super 35. The trio then runs to 125 mm, roughly 11° across, matching 17–180 mm on full frame, all at T2.8. At a theatre recording, the 12-25 holds the whole stage from the control booth while a second camera on the 50-125 isolates one actor. Overlaps at 20–25 and 50–55 mm keep shot sizes continuous across a lens change.
Lens changes leave the rig alone. Focus travels 270° and zoom 100° on all three barrels, iris rotation is 64.4°, 65° and 72°, and the 0.8 MOD gears sit at identical points on each. Firm end stops let one reviewer calibrate wireless motors with a single button press. Every front measures 95 mm with an M86 thread, so one matte box and ND set serve the trio. Each ships in PL with an EF bayonet, shims, rod support and caps, all inside a foam-lined hard case.
Shimmed to its camera, each parfocal cine zoom keeps focus through the range, while a floating focus group limits breathing: a rack from presenter to product on a desk barely changes image size. The 12-25 packs 21 elements into 15 groups; the 20-55 and 50-125 carry 18 each, in 15 and 13 groups. Reviewers describe a warm, gently soft rendering that flatters skin; sixteen blades keep defocused highlights round, and at small apertures point sources form little stars. Close focus from the sensor is 0.4, 0.6 and 0.8 m; at 55 mm the nearest frame is about 19 by 15 cm, room for a phone screen and the thumb on it in a tech-review insert.
Some limits matter before ordering. Fitted with EF, the lenses belong on mirrorless or cinema bodies; DZOFilm excludes EF DSLRs. Mounts are passive, so lens data don't goes on the camera report, and the rear element protrudes too far for focal reducers. Octopus adapters open Sony E, Canon RF, L-Mount, Fujifilm X and Nikon Z bodies, and with DZOFilm's Marlin 1.6x the kit becomes a 19.2–200 mm set at about T4.7, covering full frame and VistaVision. That keeps this Super 35 cine zoom kit in service once the camera fleet moves to larger sensors.
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| Specification | 12-25 mm | 20-55 mm | 50-125 mm |
|---|---|---|---|
| Colour | BLACK | ||
| Mount | PL / EF | ||
| T-Stop | T2.8-22 | ||
| Image Circle | ø31.5mm (S35) | ||
| Optical Construction | 21 Elements in 15 Groups | 18 Elements in 15 Groups | 18 Elements in 13 Groups |
| Flange Distance | 52mm (PL) / 44mm (EF) | ||
| Close Focus (from sensor plane) | 0.4m/1ft4in | 0.6m/2ft | 0.8m/2ft8in |
| Zoom Ratio | 2.08X | 2.75X | 2.5X |
| Iris Control | 64.4° | 65° | 72° |
| Focus Control | 270° | ||
| Zoom Control | 100° | ||
| Front Dia. | ø95mm/3.74" | ||
| Length | 150mm (PL) 5.9”/ 159mm (EF) 6.26” | 164mm (PL) 6.46”/ 171.9mm (EF) 6.77” | 175mm (PL) 6.89”/ 182.9mm (EF) 7.20” |
| Iris Blade | 16 | ||
| Filter Size | M86*0.75 | ||
| Gear Pitch | 0.8 Mod | ||
| Material | Aluminum Alloy | ||
| Weight | ≈1600g | ≈1520g | ≈1700g |
Data sheet
Specific References
