DZOFilm Arles

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DZOFilm Arles are full-frame cinema lenses featuring 16-element design, T2.8 aperture, and 6K resolution. Constant 60cm minimum focus distance and 300° focus rotation for professional follow focus systems.

Technical Details

All Arles lenses utilize a 16-element construction with multi-layer nano-coating, achieving a resolution exceeding 6K at an open T2.8 aperture. Weight varies between 1.8kg (25mm) and 2.1kg (135mm), with a uniform length of 134mm. Focus rotation is 300 degrees with precise 0.8 pitch gears for follow focus systems. The close focus of 60cm remains constant across all focal lengths, allowing for a magnification factor between 1:10 (25mm) and 1:4 (135mm). The lenses cover a 46.3mm image circle, making them optimized for full-frame sensors up to 8K.

History & Development

DZOFilm launched the Arles series in 2021 as its second line of cine lenses, following the Vespid primes. The company, founded in 2019 in Hangzhou, positioned itself as a cost-effective alternative to established manufacturers like Zeiss or Cooke. The Arles lenses were born from the realization that many productions require affordable full-frame cine optics with professional mechanics. In 2022, DZOFilm expanded the portfolio with Arles lenses featuring E-mount for mirrorless cameras, followed in 2023 by a limited titanium variant with reduced weight.

Practical Use in Film

The Netflix series "The Empress" (2022) utilized DZOFilm Arles for Steadicam sequences, as their moderate weight allowed for longer handheld takes. Documentary filmmakers appreciate the constant close focus distance for quick focal length changes without refocusing. The uniform T2.8 value significantly simplifies exposure transitions during lens changes. The series exhibits a warm, cinematic look with smooth bokeh and controlled lens flares. Colorists report good color consistency between focal lengths, though with a slight magenta shift at wide open apertures.

Comparison & Alternatives

Compared to Zeiss CP.3 or Sony FX, Arles lenses offer 60% of the imaging performance at 30% of the price, with comparable mechanical precision. The series directly competes with Sigma Cine lenses and Samyang XEEN, but surpasses them in color consistency. Unlike variable cine zooms such as the DZOFilm Pictor 20-55mm, the Arles primes offer higher light transmission and lower distortion. For high-end productions, Cooke S7/i or Zeiss Master Primes remain the top choice, while Arles lenses serve the mid-range market between consumer and professional segments.

From the crafts

Perspectives

Cinematographer

Als DoP schätze ich die konstanten 60cm Close Focus über alle Brennweiten – das spart mir ständige Fokus-Kalibrierungen beim Objektivwechsel. Die einheitliche T2.8-Blende macht Belichtungsübergänge kalkulierbar, auch wenn ich bei kritischen Beauty-Shots lieber auf Cooke S7/i zurückgreife. Der warme Look funktioniert hervorragend für organische Erzählungen, jedoch muss ich den Magenta-Shift in der Farbkorrektur kompensieren.

Director

Die Arles-Serie gibt mir die Freiheit, zwischen intimen Close-ups und weiten Einstellungen zu wechseln, ohne dass mein Kameramann die gesamte Beleuchtung anpassen muss. Das konstante T2.8 hält die visuelle Kontinuität aufrecht, während die warme Farbsignatur meinen Charakteren eine natürliche Hautdarstellung verleiht. Für emotionale Nahaufnahmen nutze ich das sanfte Bokeh der 85mm und 135mm gezielt als Stilmittel.

Producer

Mit 8.000 Euro für das komplette 5er-Set kosten die Arles-Objektive ein Zehntel vergleichbarer Zeiss-Optiken bei 80% der Bildqualität – eine klare Kostenersparnis ohne sichtbare Kompromisse im Endergebnis. Die robuste Mechanik reduziert Ausfallrisiken am Set, und die Verfügbarkeit über deutsche Verleiher macht Last-Minute-Buchungen problemlos möglich. Für Budgets unter 2 Millionen Euro sind diese Objektive oft die wirtschaftlich sinnvollste Wahl.