Films & testimonials

Testimonials

June 2010 - Katsumi Yanagishima – DoP of “Outrage” from Kitano productions which was in the official selection at last Festival de Cannes in May.

“I have been with Angenieux zoom lenses for many years. They always deliver to me "prime lens image quality" with absolute reliability which requires on location. They are perfect tools to realize any angle of view, under restricted shooting conditions, with such quality which never happens with prime lenses”

Katsumi Yanagishima
Born in August 1950, in Gifu-pref, Japan.

* 1971 Graduated from Tokyo Visual Art academy and worked for
Mifune Production Co. Ltd.
* 1989 1st feature film "cf Girl" as DoP (freelance). Since then,
most of Kitano productions are directed by Mr. Yanagishima and
his career as DoP is now more than 45 productions
* Awards : Best achievement in cinematography, Japan Academy
Prize, with "GO" in 2002 and "Zatoichi" in 2004 (both by Kitano
Production)
 

Luciano Tovoli

American Society of Cinematographers (USA)
Academia International de Cinema (Italy)
Initiator and founder in 1993 of Imago – European Federation of Cinematographers – in collaboration with the AFC, BSC and BVK.

“Angenieux lenses follow me all along my long career . Without the optical and mechanical quality of them, all my films, from my report with Michelangelo Antonioni Chung-Kuo Chine in 1972, to almost all the others until recent Oceans by Jacques Perrin and Jacques Cluzaud, an outstanding film I had a great pleasure to work on with many other colleagues, wouldn’t have the brilliance that makes me a bit known in the cinematography world/field. I only can warmly thank Angenieux company and its creative technicians to constantly work on research into solutions at the cutting edge.”

Roberto Schaefer – ASC

« I have used the lens on "Stranger Than Fiction" and last year's "The Kite Runner". It was an invaluable tool in the mountainous and desert regions of far western China where the conditions were not always friendly and it helped us to get the filming done on time, and beautifully so.”

Checco Varese –AMC

“To me having an Optimo on the set is more important than having any other lens. You tell the story with the first shot and the fantastic resolution of this lens will let you describe the shot better. The Optimo gives me great freedom of perfectly flawless close up from 10ft away of the action. It focuses and de-focuses organically, much like the human eye, allowing me to capture images with a sense of continuous flow.”

James Mathers – President of the Digital Cinema Society

“The crown jewel of the package is the Angenieux 17-80mm. It is simply a beautiful piece of glass, quite fast for a zoom at T2.2, and has a good focal range for the kind of narrative work I do.”

Erik Schietinger – TCS (Technological Cinevideo Services) – New-York

“ With th Optimo 30-80, the question from DPs was always what the wide complement to this lens is. Everyone agreed that the 30-80 is a great lens but they also needed something that’s wider. Now that we have the Optimo Rouge DP 16-42, these two lenses essentially replace a full set of primes – and the quality of Angenieux Optimo Rouge lenses is extremely closed to primes”

Eric Gautier – AFC

Translated from French
« I often use Aaton / Angénieux combination. On Taking Woodstock, of course, but especially on Into the Wild and on the Julian Schnabel’s film. On those films, I used…I’m still using them…the Optimo 17-80 and 24-290”