DZOFILM Catta Ace FF 35-80 & 70-135mm T2.9 Zoom 70-135mm

The DZOFILM Catta Ace bundle gives you two manual cinema zooms covering 35-135mm at a constant T2.9 for under $3,000. Build quality is excellent and the included accessories are generous, but optical sharpness and low-light performance fall short of modern stills glass. It's a purpose-built cinema tool for controlled sets, not a hybrid lens for run-and-gun shooters.

Optically, the Catta Ace set is a mixed bag. Our database puts overall optical quality at the 15th percentile, which sounds rough, and it is compared to the razor-sharp stills lenses we normally test. But cinema glass is judged differently. These lenses are designed to be a bit softer wide open, with a more organic roll-off that flatters skin tones. The T2.9 aperture is constant across both zooms, so you won't get exposure shifts while zooming. That's table stakes for cinema work, and DZOFILM delivers here. The 16-blade aperture helps keep out-of-focus highlights circular, though our bokeh score is a middle-of-the-pack 55th percentile. It's pleasant, not magical.

Where the performance really shines is in handling and versatility. The 87th percentile versatility score reflects the smart focal range split. You get a wide-to-medium zoom and a medium-to-telephoto zoom that cover most narrative and documentary needs without swapping to a massive, heavy all-in-one zoom. The macro performance is decent at the 64th percentile, but don't expect true 1:1 macro work. The 2.3x magnification figure in the spec sheet is a bit misleading. That's likely a crop factor or sensor coverage spec, not a reproduction ratio. In practice, you're not getting super close. The manual focus throw is long and precise, which is exactly what you want for pulling focus with a follow focus unit.

Stacked against the competition, the Catta Ace occupies a weird niche. The Sigma Contemporary 16-300mm f/3.5-6.7 is a stills superzoom with autofocus and stabilization for a fraction of the price, but it's not a cinema lens. The Canon RF 28-70mm f/2.8 IS STM is sharper, stabilized, and has autofocus, but it's a single lens with a shorter range and no geared rings. The Panasonic LUMIX S 28-200mm is even more of a stills travel zoom. None of these are direct competitors for a manual cinema set. The Sony G Master 70-200mm f/2.8 II is a closer optical rival, but again, it's a single autofocus stills lens. If you're cross-shopping these, you need to decide whether you want a lens that helps you capture the shot quickly, or one that gives your focus puller precise control. They're different tools for different jobs.

The Tamron 17-70mm f/2.8 Di III-A VC RXD is an interesting comparison for APS-C shooters. It's stabilized, has autofocus, and covers a useful range for video. But it's not full frame, not parfocal, and the build quality isn't in the same league as the DZOFILM set. The Catta Ace lenses feel like cinema tools. The Tamron feels like a very good stills lens that happens to work for video. If you're shooting narrative or commercial work with a crew, the DZOFILM bundle makes more sense. If you're a solo operator who needs to grab focus quickly and shoot handheld, the stabilized stills zooms are probably a better fit.

At $2,999 for the pair, the Catta Ace bundle is priced like entry-level cinema glass, and that's exactly what it is. You're getting two matched zooms, a hard case, support bases, rods, and both PL and EF mounts. Compare that to a single used Canon CN-E zoom or a Zeiss CP.3 prime set, and the value proposition becomes clear. This is a budget-friendly way to get a consistent, parfocal-ish zoom range onto your cinema camera without renting. But value depends entirely on your workflow. If you need sharpness for 8K capture or plan to shoot wide open in available light a lot, the T2.9 aperture and soft-ish optics might push you toward spending more on faster glass. For controlled lighting and 4K delivery, it's a solid deal.

The DZOFILM Catta Ace bundle is a two-lens set that covers 35-80mm and 70-135mm, giving you a combined 35-135mm zoom range at a constant T2.9. It's built for full-frame cinema cameras with ARRI PL mounts, though EF mounts are included in the box. If you're searching for a cinema zoom kit under $3,000 that doesn't feel like a toy, this pair sits in a pretty interesting spot. The build quality is a standout, landing in the 85th percentile across all lenses we track. These aren't lightweight stills lenses. They're solid, geared cinema tools that come with support bases, rods, and a hard case that actually protects your investment.

But let's be clear about what these are and aren't. This is a manual focus, no-stabilization, fully mechanical cinema setup. The aperture ring is smooth and the 16-blade diaphragm is a nice touch for rounded bokeh, though our bokeh score lands right around average at the 55th percentile. The minimum focus distance is 739mm, which isn't great if you're trying to get tight close-ups. And at T2.9 constant, you're not getting the shallow depth of field or low-light flexibility of a faster prime set. For controlled sets or documentary work where you can light your scene, it's fine. For run-and-gun natural light, you'll feel the limitation.

We see a lot of shooters asking whether a cinema zoom like this can pull double duty for photography. The short answer is no. There's no autofocus, no stabilization, and the optical performance sits at the 15th percentile compared to modern stills glass. These are purpose-built for video. If you need a hybrid lens, look elsewhere. But if you're building out a cinema rig and want a matched pair of zooms that feel consistent and won't break the bank, the Catta Ace bundle makes a compelling case.

Skip the Catta Ace bundle if you're a solo shooter who needs autofocus and stabilization for handheld work. This is a fully manual cinema set with no electronic communication to the camera body. If you shoot weddings, events, or documentary in unpredictable lighting, the T2.9 aperture and lack of stabilization will make your life harder. Look at stabilized stills zooms like the Canon RF 28-70mm f/2.8 IS STM or the Sony G Master 70-200mm f/2.8 II instead. Also skip if you need critical sharpness for 8K or VFX plates. The optical performance isn't competitive with high-end stills glass or premium cinema primes.

The DZOFILM Catta Ace bundle is a purpose-built cinema zoom kit that delivers where it counts for video shooters: consistent handling, solid build, and a useful focal range split across two lenses. It's not trying to be the sharpest lens on the chart, and it's not pretending to be a hybrid photo lens. It's a manual cinema tool for people who pull focus with their hands and light their scenes intentionally. The included case, mounts, and support rigging make it a complete package out of the box, which is rare at this price.

Should you buy it? If you're building a cinema rig on a budget and need a matched zoom set that covers wide to telephoto without swapping to a massive, expensive single zoom, yes. This is a smart buy. If you need autofocus, stabilization, or razor-sharp optics for high-resolution stills work, absolutely not. This isn't that lens. And if you're shooting mostly in low light, the T2.9 aperture will frustrate you. Rent it first if you're on the fence, but for the right shooter, this bundle is a quiet bargain.