DZOFilm has added two full-frame cine zooms to its Arles series. The DZOFilm 25-75mm and DZOFilm 65-180mm both hold a constant maximum aperture of T2.6, and DZOFilm says they deliver prime-level performance along with the signature Arles look.
Focal lengths
The two zooms cover 25-75mm and 65-180mm. Between them, DZOFilm says, you get the focal lengths most professional productions lean on. The ranges overlap between 65 mm and 75 mm, which cuts down on lens swaps mid-shoot.
Both cover a 43.5 mm image circle, enough for full-frame cinema sensors, and DZOFilm rates them for 8K resolving power.
Parfocal design
The 25-75mm uses 22 elements in eight groups. The 65-180mm has 20 elements in the same number of groups.
Both are parfocal, meaning focus holds as you change focal length. That’s the behavior photography zooms usually lack, and it’s what makes a zoom usable on set. DZOFilm credits a four-group linkage with a quad-synchronized zoom mechanism, designed to keep image-field performance, aberration correction and resolving power consistent across the range.
Signature Arles look
The zooms carry the same low-saturation blue coating as the rest of the Arles family, which DZOFilm says produces warm, natural tones with a modern character. That coating also suppresses flare and ghosting, while an ultra-matte internal finish cuts reflections and stray light for cleaner contrast.
They’re color-matched to the Arles Prime series too, so footage should cut together when you switch between zooms and primes.
Constant maximum aperture
T2.6 holds across both zoom ranges. Paired with a full-frame sensor, that gives you clear separation between subject and background, along with decent low-light headroom. A 16-blade iris keeps out-of-focus areas smooth and rounded.
Design
Manual rings handle iris, zoom and focus, all with standard 0.8 pitch gearing for follow focus units. The focus ring rotates 270 degrees, which gives you room to hit marks precisely.
The 65-180mm measures 7.51 inches (190.85 mm) long, with the 25-75mm slightly shorter at 7.01 inches (178.1 mm). Both weigh around 3.9 pounds (1,780g), with a 95 mm front diameter and an 86 mm filter thread. Matching physical dimensions means a rebuild between lenses stays quick.
Interchangeable lens mount
Both ship with a PL mount, swappable for an optional EF mount. DZOFilm’s Octopus adapters extend that to E, L, Z, RF, X and DX mirrorless mounts.
One caveat. These are fully manual lenses, so no mount carries electrical contacts. Your camera won’t record lens metadata, and there’s no autofocus or electronic iris control.
What we think
The Arles Primes have a strong reputation, and these zooms promise the same rendering with the flexibility a zoom brings. A combined 25-180 mm range covers what most prime sets do, in two lenses instead of five or six.
Parfocal performance is the practical selling point. You can zoom in to set focus, then pull back to compose, knowing the shot stays sharp. That workflow alone justifies the price gap over a photography zoom.
The weight is worth thinking about. At 3.9 pounds each, these aren’t gimbal-friendly without a capable rig. For anyone moving up to cine glass on a full-frame body, though, two lenses at $5,199 is a reasonable entry point.
Pricing and availability
Both lenses arrive in October at $2,899 each. A two-lens set runs $5,199.
