The Blazar Lens Cato 2x Anamorphic Lenses were first shown as prototypes way back in April at NAB 2024. Since that time the series has undergone significant changes and all four focal lengths were redesigned to have a unified front diameter, gear placement, and filter thread.
The Cato 2x Anamorphic Lens series is being touted as a very affordable and lightweight solution which makes them well-suited for gimbal use and handheld use. They are even able to fly on the Ronin 4D with the use of counterweights.
At IBC 2024 in Amsterdam, Blazar Lens showed full production versions of the Cato 2x Anamorphic series. Above you can see our interview with Blazar Lens at IBC 2024.
The Cato Series features a consistent, 2x anamorphic squeeze ratio and covers large formats. The 4-lens set includes:
- 40mm T2.4
- 55mm T2
- 85mm T2.8
- 125mm T4
Like Blazar’s Remus Series, the Cato is claimed to feature a traditional anamorphic look in its images by balancing retro characteristics with a clean, modern look. The lenses employ barrel distortion in their anamorphic design, and feature a neutral, silver flare that takes on the color of any direct light source.
Each focal length has been optimized at different apertures, with the 55mm being the fastest at a T2.
Size & Weight
The Cato series are very lightweight considering they are full-frame 2x anamorphic lenses. They have the following weights:
| WEIGHT | |
| Blazar Lens Cato 40mm T2.4 | 1.02 kg / 2.24 lb |
| Blazar Lens Cato 55mm T2 | 898 g / 1.98 lb |
| Blazar Lens Cato 85mm T2.8 | 927 g / 2.04 lb |
| Blazar Lens Cato 125mm T4 | 940 g / 2.07 lb |
All the lenses have a similar weight and only the 40mm T2.4 is just above 1kg. This makes them considerably lighter than any other 2x anamorphic on the market by a wide margin.
The lenses vary from 110mm to 134mm in length.
The low weight means you could certainly use the Blazar Lens Cato series with mirrorless hybrids or small-sized digital cinema cameras.
| WEIGHT | |
| DZOFilm PAVO 40mm T2.1 | 1.3 kg / 2.9 lb |
| DZOFilm PAVO 55mm T2.1 | 1.3 kg / 2.8 lb |
| DZOFilm PAVO 75mm T2.1 | 1.5 kg / 3.2 lb |
| DZOFilm PAVO 135mm T2.5 | 1.99 kg / 4.39 lb |
Above you can see how much the competing DZOFilm PAVO 2x anamorphic series weighs. These lenses cover an image circle of 31.5mm and were designed to be used with Super 35-sized sensors.
| WEIGHT | |
| Laowa Proteus 35mm T2 | 2.4 kg / 5.29 lb |
| Laowa Proteus 60mm T2 | 2.3 kg / 5.07 lb |
| Laowa Proteus 85mm T2 | 2.95 kg / 6.5 lb |
| Laowa Proteus 100mm T2 | 2.8 kg / 6.2 lb |
As a comparison, above you can see how much the Laowa Proteus 2x anamorphic lenses weigh.
So how does that weight compare to the Atlas Orion series? Well, below you can see:
| WEIGHT | |
| Atlas Orion 40mm T2 | 2.4 kg / 5.2 lb |
| Atlas Orion 65mm T2 | 2.3 kg / 5.1 lb |
| Atlas Orion 80mm T2 | 2.7 kg / 6 lb |
| Atlas Orion 135mm T2.2 | 3.99 kg / 8.8 lb |
You need to clearly remember that neither the Laowa Proteus nor Atlas Orion series cover full frame sensors.
Image Circle Coverage
The image circle coverage is different between the various focal lengths, just like the T stops. Both the 55mm and 40mm will vignette on full frame open gate sensor modes, although, if you crop to 2.39:1 or 2.40:1 then that disappears.
| IMAGE CIRCLE COVERAGE | |
| 40mm T2.4 | 28.8 x 24mm |
| 55mm T2 | 28.8 x 24mm |
| 85mm T2.8 | 36 x 24mm |
| 125mm T4 | 36 x 24mm |
As a comparison, the Laowa Proteus 2x anamorphic series that covers S35 sensors will cover an image circle diameter of 25.92mm x 21.6mm.
You need to make compromises if you are going to come up with affordable 2x anamorphic lenses that cover full frame sensors and are lightweight and compact. You can’t have your cake and eat it too. I don’t think anyone can really complain though, as these lenses are considerably more affordable than anything else on the market.
Aesthetics & Mounts
The Cato series features the same silver and black design as the Remus series, and they have focus markings in both feet and meters.
All the focal lengths are available in PL or EF mount.
Build Quality
The Cato lenses are reasonably well-made and constructed. Blazar Lens has come a long way since the Great Joy days and the build quality of their lenses has continued to improve. No, they are not going to be as well made as more expensive offerings from Laowa and Atlas Lens Co., but for their target audience, I think they are certainly good enough.
They do come with removable lens supports.
They feature a rather understated design which I personally like, and at least they aren’t white!
The lenses come in a nice compact hard case with laser-cut foam and some shims and tools.
What I am always looking for when it comes to sets of lenses is how consistent the mechanics and look are. Good lenses maintain very high levels of consistency across the focal ranges. With a lot of the more ‘affordable’ lenses that I have reviewed over the years the thing that normally lets them down is consistency when it comes to the mechanics, build quality, and look. If you are a lens manufacturer and want a seat at the big boys’ table then you need to be able to deliver lenses that have consistency.
The mechanical consistency of the Cato 2x Anamorphic lenses was pretty good. I couldn’t find any mechanical issues or faults with any of the iris or focus rings.
The focus resistance was pretty consistent across all of the focal lengths, which was very good to see for budget-priced anamorphic lenses.
Markings
Like most of the affordable cine lenses coming out of China, the Cato 2x series has focus markings in both feet and meters. This is primarily done to save on cost and not have to make two different versions. The feet markings are on the operator’s side and the meter markings are on the opposite side. I did find on the 85mm that the infinity marks did not line up correctly on the 85mm.
The markings are reasonably easy to see.
Above is a short film called ‘Gold Bastard’ by Matt Bendo, CSC, AIC that was shot entirely on the Cato series.
Above you can see some images from ‘Gold Bastard’ by Matt Bendo, CSC, AIC.
Front Filter Diameter
All the focal lengths feature an 85mm front diameter and an 82mm front filter diameter. Having an 82mm front filter diameter allows you to use commonly available filters which is handy if you are shooting with mirrorless hybrids.
No Back Focus Adjustment
Back focus, which can also be referred to as focal flange length, is the distance between a camera’s sensor and the rearmost element of the lens. Adjusting back focus is especially important if you are changing over lens mounts. Usually, this is done through the painstaking task of using shims. I would highly recommend that if you have to use shims to change the back focus on an anamorphic lens, take it to a lens technician at a reseller/rental house. Adjusting the back focus shim stack on anamorphic lenses will adversely affect the optical performance and introduce astigmatism to the lens.
What I like about the Laowa Proteus series is that they feature a back focus adjustment which makes it very easy to get accurate results without having to resort to the painstaking task of adding or removing shims.
With a good lens set, you shouldn’t need to adjust the shims out of the factory as it should be spot-on based on the mount it comes in. It is normally when you use lens adapters or swap over mounts that you will run into issues. I had issues with the previous Remus series where the flange distance wasn’t correct even though they were PL mount and I was using them on a PL mount camera. This is something that doesn’t normally occur with more expensive lenses.
Optical Construction
Blazar does list what the optical construction of the lenses consists of. The only thing they list is all the focal lengths of 16 aperture blades.
Constant 2X squeeze ratio
The 2X squeeze ratio allows you to create the classic wide-screen anamorphic look and it pairs well with 4:3 or 6:5 sensors which are usually defaulted in professional cinema cameras to deliver a 2.66:1 or 2.4:1 image after de-squeeze. You can also crop to a 2.39:1 with minimal loss of resolution.
With the optical design, the 2X squeeze ratio can be achieved at any focus distance.
Close Focus
Anamorphic lenses don’t tend to have very good close-focus abilities, especially 2x anamorphic.
| Minimum Focus Distance | |
| Blazar Lens Cato 40mm T2.4 | 1.8′ / 55cm |
| Blazar Lens Cato 55mm T2 | 2.59′ / 79cm |
| Blazar Lens Cato 85mm T2.8 | 2.52′ / 77cm |
| Blazar Lens Cato 125mm T4 | 2.59′ / 79 cm |
Above you can see the minimum focusing distance for the Cato series.
| Minimum Focus Distance | |
| DZOFilm PAVO 40mm T2.1 | 1.6′ / 45cm |
| DZOFilm PAVO 55mm T2.1 | 2′ / 60cm |
| DZOFilm PAVO 85mm T2.1 | 2.9′ / 84cm |
| DZOFilm PAVO 100mm T2.1 | 3.1′ / 95 cm |
As a comparison, above you can see the minimum focus distance for the DZOFilm PAVO Series.
As another comparison, below can see the minimum focus distance for the Laowa Proteus Series below:
| Minimum Focus Distance | |
| Laowa Proteus 35mm T2 | 1.8′ / 55 cm |
| Laowa Proteus 60mm T2 | 2.3′ / 70cm |
| Laowa Proteus 85mm T2 | 2.7′ / 82cm |
| Laowa Proteus 100mm T2 | 3.25′ / 99 cm |
So how does this compare to the Atlas Lens Orion series? Below you can see:
| Minimum Focus Distance | |
| Atlas Lens Co. 40mm T2 | 1.8′ / 56 cm |
| Atlas Lens Co. 50mm T2 | 2.5′ / 76 cm |
| Atlas Lens Co. 80mm T2 | 2.8′ / 84 cm |
| Atlas Lens Co. 135mm T2.5 | 3.5′ / 1.1 m |
No Flare Options
Unlike previous Blazar Lens and Great Joy anamorphic options, the Cato series is only available in a neutral silver flare color. The silver flare provides a more neutral flare that will change color according to the light source.
Other Features
All of the lenses feature unified gear positions so that they can be switched quickly between focal lengths to work with the same set of gears.
Why were anamorphic lenses made?
What you may not know is that anamorphosing optics was developed by Henri Chrétien during World War I to provide a wide-angle viewer for military tanks. The optical process was called Hypergonar by Chrétien and was capable of showing a field of view of 180 degrees. After the war, anamorphic lenses for cinema were originally designed so that wide format imagery would fully utilize the film area of a standard 35 mm frame. The lenses also enhanced vertical resolution and reduced the appearance of grain. The technology was first used in a cinematic context in the short film Construire un Feu in 1927 by Claude Autant-Lara. The introduction of the Super 35mm format made the difference between anamorphic and spherical lenses a lot less obvious. This is because Super 35 provided more horizontal film area, as it didn’t have to record the audio next to each frame, as was the case with standard 35mm film.
Why shoot anamorphic?
With a lot of anamorphic lenses, you are going to see image imperfections, but this is what makes anamorphic lenses so special. With modern-day cameras and sensors being so good, a lot of DPs want to try and add character through the use of vintage or/and anamorphic lenses. Image characteristics when shooting with an anamorphic lens include the bokeh taking on the appearance of being oval-shaped as opposed to circular, and flares appear as bluish horizontal or vertical streaks that can span across the entire picture. The other characteristic associated with anamorphic shooting is the widescreen aspect ratio.
If you are working in HD or 2K formats with spherical lenses, you could just crop your 2K frame to get a 2.39:1 ratio, right? Yes, you could, but the problem is you are left with just 858 lines of vertical resolution. Anamorphic lenses provide a way to capture a 2.39:1 ratio without having to make that sacrifice in resolution. Of course, you can also capture at higher resolutions (4K, 6K, 8K, etc.) and then deliver in a lower resolution as well.
2x anamorphic lenses produce a super-wide 3.55:1 ratio. To produce a traditional 2.39:1 ratio with a 16:9 sensor, a 1.33x or 1.35x anamorphic lens is needed.
Anamorphic certainly isn’t for everyone
As the old saying goes, just because you can, doesn’t mean you should. Anamorphics aren’t for everyone and they certainly aren’t suitable for a lot of projects. The very nature of their aspect ratio makes them difficult to use for a lot of content you may want to shoot. TV broadcasters often want a native 16:9 aspect ratio as they don’t want to have black bars below and above the image shown on their viewer’s screens. A lot of DPs would love to shoot anamorphic or even in a wider aspect ratio, but this is normally vetoed by the network. Because the anamorphic-scope camera format does not preserve any of the images above and below the scope frame, it may not transfer as well to narrower aspect ratios, like the commonly used 16:9 for full-screen television.
You also need to take into account that the depth of field is also affected when shooting anamorphic-ally. Technically anamorphic and spherical lenses have the same depth of field, but in real-world use, you have to use a longer focal length with an anamorphic in order to achieve the same angle of view. This means at the same magnification (for example using a 35mm focal length), anamorphic lenses produce a shallower depth of field. As we all know, (whether you agree or not) the “cinematic” look is often associated with a shallower depth of field.
Reasons for not shooting anamorphic can include:
* Most anamorphic lenses can create artifacts or distortions
* Generally more expensive than spherical lenses
* A lot of anamorphic lenses are slower than spherical lenses and require more light
* Does not transfer well to narrower aspect ratios, such as 16:9
Sharpness
The Blazar Lens Cato series has ok sharpness for 2X anamorphic lenses at this price, but they are a little soft when shooting wide-open. Wide open they also have a lot of halation which also doesn’t help with perceived sharpness.
Once you start stopping down they do sharpen up. Using the lenses at T5.6 and T8 certainly provides much better results. The sharpness improves dramatically and they optically perform a lot better. With the 125mm T4, you need to stop it down to T5.6 and above to get good results.
I really don’t recommend shooting wide open with a lot of the more affordable anamorphic lenses unless you are after a certain look. The sharpness improves dramatically and they optically perform a lot better. With the 125mm T4, you need to stop it down to T5.6 to get good results.
The 85mm and 125mm are arguably a little bit sharper than the 55mm.
The Cato lenses are certainly a lot softer out towards the edges of the frame, however, that didn’t come as any big surprise.
If you want a sharpness comparison, above you can see the Laowa Proteus. Please remember those lenses only cover S35 sensors and they cost significantly more.
At least in my opinion, the only 2x anamorphics that are nice and sharp when used wide open that you can buy are the Master Anamorphics (although the Laowa Proteus also does a pretty decent job).
The wider Cato focal lengths, especially the 55mm do suffer from barrel distortion. This is very evident out towards the edges of frame. You don’t want to place your subjects at the edges of frame when shooting with these lenses. Conversely, the Laowa Proteus has pincushion distortion, which isn’t necessarily a bad thing with anamorphic lenses because if you are doing close focus with a wider focal length, you don’t want to have barrel distortion as that would make people’s faces look distorted.
In technical tests, a lot of the more anamorphic lenses are not going to win people over. Technical tests are less unforgiving than a lot of real-world shooting situations and they are done to look very closely at potential optical flaws. Zooming in 300% on an image is not something I am ever going to do in the real world, it is just pixel-peeping.
In the real world, most lenses are going to look a lot better than they will in technical tests. The reason I do tests like this is it gives you a benchmark when comparing other lenses. The robot has a very fine pattern on its surface and this is very helpful in seeing sharpness, detail, micro-contrast, etc.
Lens Breathing
I tested out the lenses by doing large focus throws and there is certainly breathing in the form of vertical stretching when using the lenses wide open, but for 2x anamorphic lenses at this price, that is to be expected. If you stop them down the breathing does get slightly minimized.
Anamorphic breathing appears in a different way than when using a normal spherical lens. With a spherical lens, breathing gives the appearance that the focal length is changing. However, with anamorphic lenses, vertical stretching occurs with the background. So when you adjust focus from something close to something further away, the background takes on a squeezed appearance. Hence why you see oval instead of round bokeh.
With anamorphic lenses, the more you stop the lens down, the less the out-of-focus object’s appearance will change. If you shoot wide open and pull focus the out-of-focus objects will change shape more dramatically.
Older anamorphic lenses such as Lomo’s and Kowa’s can breathe a lot. Newer anamorphic designs from companies such as Zeiss and Cooke have a lot less breathing. The popular Panavision E Series anamorphic lenses retain true anamorphic artifacts such as disproportional vertical focus breathing.
If you want a breathing comparison, above are tests done with the Laowa Proteus.
Flare
Let’s face it, the reason a lot of people want to use anamorphic lenses is because of the interesting flares you can obtain. Yes, they can be overly used, and sometimes less is more, but the probable target audience for these lenses is arguably looking for nice subtle streaks.
Used wide open, or relatively wide open, you do get that streak that everyone is familiar with, however, I think that there is a misconception that you need to shoot wide open with anamorphic lenses to get hose nice flares. The reality is, a lot of anamorphic lenses arguably have nicer flares, or what I would call more classic Hollywood flares, if you actually stop them down.
A strong blue streak might be fine if you are shooting a Sci-fi movie, but it can be very distracting for a lot of other content. Sometimes less is more.
I liked the flares I was getting from these lenses, but flares are very subjective.
The lenses maintain reasonably good contrast when a lot of direct light is shining down the barrel, but that really depends on how big the light source is.
As a comparison, below you can see flare tests done with the Laowa Proteus.
Chromatic Aberration
The lenses do show some signs of chromatic aberration when used wide. As you can see there is some purple fringing in high-contrast areas. Depending on what you are shooting this may be of concern.
You will also clearly see this in my test footage further down in the review.
Bokeh
Oval-shaped bokeh is another drawcard of anamorphic lenses. The ability to create interesting-looking out-of-focus areas can certainly be used to help to enhance a shot. I personally prefer out-of-focus areas in the foreground rather than the background when using lenses like this.
The bokeh is what you would expect for 2x anamorphic lenses and it has that nice oval appearance.
Real World Use
I took the lenses out and shot some quick test footage so that you could see the general look and characteristics of the lenses. The footage was cropped for 2.39:1. With lens tests I am not trying to get pretty pictures, I am attempting to put the lenses into a range of different lighting conditions and environments to see how they perform.
I enjoyed using the lenses and I generally liked the images I was getting from them. They certainly have their optical quirks as they are a bit soft when used wide open and they show noticeable amounts of chromatic aberration. The barrel distortion is also quite pronounced and that does mean that with the wider focal lengths you have to be careful when panning and placing objects out toward the edges of the frame.
The mechanics of the lenses are pretty good and their small compact size and weight does make them easy to use. They provide you with that ‘look’ that you would typically associate with a 2x anamorphic.
The lenses are certainly not what I would describe as clinical, but that is not necessarily a bad thing, as depending on what you are shooting, you might want something that has a certain ‘look’.
Do they match?
With some of the ‘affordable’ anamorphic lenses on the market, the look and build quality between focal lengths can vary quite dramatically. It was nice to see that the build quality and general look of all the lenses remained consistent. If you are going to buy a set of lenses, you want them to match as closely as possible.
Can you get wide enough?
With the widest focal length being 40mm, you may well be asking, is that wide enough? A 40mm 2x anamorphic lens has the equivalent field of view of a 20mm lens. What you do need to remember is that you are getting a 20mm horizontal field of view, but you are losing information vertically. Wide angle anamorphic lenses of less than 40 mm focal length produce a cylindrical-perspective which some people like, and others hate.
It will be interesting to see if Blazar Lens comes out with a wider focal length than 40mm.
Pricing & Availability
The Cato 4-Lens Set costs $4,599 USD. The 55/85/125mm cost $1,299 USD each, while the 40mm costs $1,499 USD when purchased à la carte.
The 55/85/125mm began shipping in November. The 40mm will ship separately in February 2025.
The closest competition, at least in my opinion, comes in the form of the DZOFILM PAVO 2x Anamorphic Prime Lenses as even though they were designed to cover S35 sensors they will cover some full frame sensors. The Laowa Proteus and Atlas Orion series could also be considered completion, although none of those options were designed to cover full frame sensors.
You could also argue that the Atlas Mercury series could also be considered strong competition as it will cover full frame.
So how does the price of the Blazar lens Cato series compare to other options on the market? Below you can see:
| PRICE | |
| Blazar Lens Cato 40mm T2.4 | $1,499 USD |
| DZOFilm PAVO 40mm T2.1 | $5,499 USD |
| Laowa Proteus 35mm T2 | $4,499 USD |
| Atlas Lens Co. Orion 40mm T2 | $9,995 USD |
| Atlas Lens Co. Mercury 36mm T2.2 | $7,995 USD |
| PRICE | |
| Blazar Lens Cato 55mm T2 | $1,299 USD |
| DZOFilm PAVO 55mm T2.1 | $5,499 USD |
| Laowa Proteus 60mm T2 | $4,499 USD |
| Atlas Lens Co. Orion 50mm T2 | $9,995 USD |
| Atlas Lens Co. Mercury 54mm T2.2 | $7,995 USD |
| PRICE | |
| Blazar Lens Cato 85mm T2.8 | $1,299 USD |
| DZOFilm PAVO 75mm T2.1 | $5,499 USD |
| Laowa Proteus 85mm T2 | $4,499 USD |
| Atlas Lens Co. Orion 80mm T2 | $9,995 USD |
| Atlas Lens Co. Mercury 95mm T2.2 | $7,995 USD |
| PRICE | |
| Blazar Lens Cato 125mm T4 | $1,299 USD |
| DZOFilm PAVO 135mm T2.5 | $5,499 USD |
| Laowa Proteus 100mm T2 | $4,499 USD |
| Atlas Lens Co. Orion 135mm T2.2 | $14,995 USD |
| Atlas Lens Co. Mercury 138mm T2.6 | $7,995 USD |
The Blazar Lens Cato series certainly offers very good value for money and they are far more affordable than anything else on the market by a considerable margin.
Do you really need an anamorphic lens?
I think in principle a lot of people like the idea of shooting with anamorphic lenses, but whether or not you actually need to is maybe a completely different story. Depending on what you do there may well be little to no demand to shoot anamorphic. For a lot of shooters, it makes more sense to rent anamorphic lenses rather than to own them, however, with quite a few budget-friendly options now on the market, they are affordable enough to purchase. The Cato series certainly fits that bill.
While you may find the look of anamorphic esthetically pleasing, in the past, a lot of shows would not shoot anamorphic for broadcast television, simply because the broadcasters don’t want viewers complaining about black bars on top and below the image.
However, with more and more online content being created by Netflix, Amazon, Disney, etc. this isn’t really an issue anymore. Online streaming entities are often more than happy to have productions shoot with anamorphic lenses and the 2:1 aspect ratio has become an increasingly popular delivery format for Netflix. If you produce content that will end up in a widescreen aspect ratio you could easily mix anamorphic and other spherical lenses together. Also if you are making your own content then go for your life and use whatever you like.
In my honest opinion, it can be better to just rent good anamorphic lenses for projects that require them. However, in saying that, buying affordable anamorphic lenses makes sense if you are someone who is going to use them a lot for the type of work you do. The Blazar Lens Cato series is sure to appeal to owner/operators given their low cost.
Conclusion
The Cato series are extremely affordable given their price tag and they are truly the first affordable set of 2x full frame anamorphic lenses. At this price point, they don’t have any real direct competition.
In the past, I have generally been pretty disappointed with most so-called ‘affordable’ anamorphic lenses, although there have been some exceptions. The trouble was those exceptions were plagued by inconsistencies with the look, build quality, and mechanics.
The Cato series is well made and they are lightweight, which adds to their appeal. Are they optically perfect, no, but I think that is one of the appeals of anamorphic lenses. They have quite a lot of barrel distortion, they are soft when used wide open, and they do show signs of chromatic aberration. The lenses don’t feature consistent T stops and the image coverage does vary, but that won’t be a deal breaker for a lot of people.
To make full frame 2x anamorphic lenses this small, Blazar certainly would have needed to cut some corners optically, but you know what, that is a price they were most willing to pay to come up with a set at this price and size that will cover full frame sensors.
Anamorphic lenses are hard to review. Sure, I can talk about the technical aspects of a lens, but technical perfection is not what most DPs look for when choosing an anamorphic. The character and unique look of a lens are why certain anamorphic lenses are more popular than others. Unless you are after something that is super clean like an ARRI Master Anamorphic, the preference is usually to find and use a lens that has lots of character. The Cato series certainly has character. I really hate using the word character, because what does that actually mean? There are a lot of instances, although this does depend on the type of work you do, where having lenses with ‘character’ is not going to suit the project. I personally prefer to use cleaner lenses and then alter them with filters or in post, but that’s just me. Everyone has different needs and requirements and there is no right or wrong choice. Having a cleaner-looking anamorphic can also help if you need to mix and match it with spherical lenses.
In the past, anamorphic lenses were predominantly rental items for a lot of shooters, simply because the cost of ownership was so high, but over the last 3-4 years a lot of affordable options have come to market. I can see more and more people starting to purchase anamorphic lenses instead of renting them, especially with a set like these.
Lenses can have different characteristics when used on different cameras and it is important to try out both the lens you want on the cameras you own or use.
While far from optically perfect the Blazar Cato series offers great value for money and for owner-operators, as they are well within reach if you want to dabble with 2x anamorphic lenses.
