DZOFILM Arles Prime 18/25/35/50/75/100mm Lens Set for PL Mount - Imperial

DZOFILM Arles Prime 18mm Lens for PL Mount (Black) - Imperial Key Features:

• High-speed VV/FF cine primes delivering strong low-light and depth control
• T1.4 apertures for shallow focus and clear separation of subjects
• 46.5mm image circle supporting full-frame and large-format capture
• Consistent 5000K colour reproduction, maintaining matched rendering
• Blue nano-coating reduces flare and stray light for cleaner highlights
• Floating optical groups improve performance from infinity to close focus
• Sixteen-blade iris producing circular bokeh and smooth transitions
• Minimal focus breathing, preserving framing during pulls
• Low-dispersion optics suppress chromatic aberration across the range
• Aspherical elements correcting coma, curvature and wide-angle distortion
• 95mm front diameter and 0.8 MOD gears unified across most focal lengths
• Interchangeable imperial/metric scales supporting mixed-crew operation
• Short rear section enabling PL, EF, and LPL adaptability
• Lightweight construction integrating easily with gimbals and stabilisers

Large-format coverage with practical depth control

The DZOFILM Arles Prime 18/25/35/50/75/100mm Lens Set for PL Mount is designed for full-frame and Vista Vision sensors, offering the breathing room that larger formats provide. The 46.5mm image circle keeps corners clean, and the T1.4 aperture provides genuine depth separation even on wider focal lengths. Wide open, the lenses hold exposure evenly across the frame, so highlights don’t break apart when working with available light or when shooting in fast-changing conditions.

Controlled flare with a modern, neutral palette

The Arles Prime series’ blue nano-coating stands out in use. Shooting, windows, low sun, or artificial light, flare stays tidy and predictable rather than washing across the frame. Colours remain stable, with the whole set sitting around 5000K, which helps when matching focal lengths during grading. The reduced stray light also keeps contrast intact in backlit scenes, so you can expose for faces without sacrificing the atmosphere around them.

Character in focus and bokeh

The 16-blade iris gives the bokeh a smooth, circular quality, and there’s a gentle falloff that adds shape without veering into heavy stylisation. A slight peripheral swirl at T1.4 introduces a subtle signature but remains controlled enough for narrative work. The floating elements help keep close-focus shots crisp, so even at shallow depths, you can work with subtle movements without the image softening or shifting noticeably.

Precision mechanics for steady operation

Focus and aperture rings run with the kind of resistance you expect from a high-speed cine design, firm enough to avoid drift but smooth for controlled pulls. The interchangeable scales are handy when different crew members handle marks, and the matched 95mm fronts and 0.8 MOD gear positions mean accessory swaps stay quick. Most focal lengths share the same body length, which simplifies balancing when moving between handheld, gimbal and Steadicam setups.

Optical design aimed at high-end capture

Across the Arles prime series, the low-dispersion elements and aspherics contribute to consistent sharpness without introducing harsh micro-contrast. Wide-angle options correct distortion well, and coma stays restrained, which helps when working with practical lights at night. The internal structure minimises internal reflections, so even deliberate backlight retains definition rather than blooming unpredictably. For productions spanning different cameras or sensor sizes, the lenses maintain their look cleanly.

What’s in the box?

• 1 x DZOFILM Arles Prime 18/25/35/50/75/100mm Lens Set for PL Mount - Imperial

FAQs:

Do the Arles primes hold sharpness at T1.4?

Yes. While the rendering stays gentle at T1.4, centre sharpness remains strong, and contrast doesn’t drop away as much as you might expect from a fast T1.4 design. Edges tighten further when stopped down, but the lenses are genuinely usable at full aperture, which is helpful in low-light scenes or when aiming for a shallow, atmospheric look.

How consistent is the colour across different focal lengths?

The set is designed to sit around 5000K across the Arles prime series. This consistency helps when intercutting wide and tight shots under the same lighting, reducing the amount of correction needed later. Flare behaviour also remains similar across the range, so transitions between lenses feel natural.

Is focus breathing noticeable during pulls?

When using the lenses, focus breathing is minimal. Framing stays stable during focus transitions, which is helpful for drama and interview work, where pulls can be quite long. On gimbals or Steadicams, the lack of visible shift helps keep the viewer anchored in the shot.

How well do the lenses work with gimbals and stabilisers?

Their weight, typically 1.4-1.9 kg, is manageable for systems such as the Ronin 2, Movi Pro, and ARRI Trinity. The consistent body length across most focal lengths speeds up rebalancing, so swapping lenses during fast-paced setups doesn’t interrupt the flow of the shoot.

Can the Arles Prime lenses be adapted beyond the PL mount?

Yes. The short rear section is designed for PL, EF, and LPL adaptability, making it easy to integrate with bodies from ARRI, RED, Canon, and Sony. They’re also compatible with KOOP magnetic rear filters and various optical adapters, giving you extra creative control without affecting front-mounted accessories.