Blog Gaston Girod sharing his experience with Optimo Primes and Optimo Ultra Compact on El Eternauta
Could you please Gaston, introduce the project?
The series El Eternauta is an adaptation of a groundbreaking Argentine science fiction comic that was ahead of its time and gained worldwide fame in the comic book world. Bringing it to the screen was a major challenge, with many failed attempts over the years due to budget constraints or technological limitations until Netflix stepped in and made the dream a reality. I’ve known Bruno (Bruno Stagnaro), the director, for many years and had been working with him on his most recent projects. When he invited me to be part of El Eternauta, I couldn’t believe it, it was a dream come true. Getting to do science fiction in my own country, telling a story that had resonated across generations and that I personally loved, it was incredible. I just said: please, let’s do this!
Can you tell us about the artistic guidelines which were defined for this first season of El Eternauta? Did you have any constraints or specific requirements?
From the very beginning, the director set out a clear vision: it had to feel REAL, almost naturalistic. We wanted to create atmosphere, but without making it overly stylized or deliberately “fantastical.” Of course, that goes against what you typically expect from science fiction, but our goal was very specific: we wanted viewers to relate to the story by making it feel like it could be happening right now, in their own homes, in their own neighborhoods. The story takes place in present-day Buenos Aires, and we approached it almost like a documentary.
As the story progresses, the tone and the cinematography gradually shift and become more surreal, reflecting the characters’ growing awareness that they’re facing an invasion.
The script includes a massive power outage, which gave us a strong visual starting point, we really leaned into the darkness. With overcast skies and no electricity, nights would be pitch black, and we wanted the audience to truly feel that darkness, that oppressive and unsettling atmosphere.
The script includes a massive power outage, which gave us a strong visual starting point, we really leaned into the darkness. With overcast skies and no electricity, nights would be pitch black, and we wanted the audience to truly feel that darkness, that oppressive and unsettling atmosphere.
For interior scenes, we stuck to the types of light sources people actually use during blackouts fire, candles, flashlights, and lanterns as our main lighting tools. It was all about staying true to the realistic tone we were aiming for. We made the most of the cameras’ high sensitivity in low light.
We also worked with the idea that the cold, dark exterior symbolized death, the snowfall, and the unknown while the warm, lit interiors stood for heat, resistance, hope, and humanity.
Regarding camera and lenses, do you usually have any go-to package? How did you make your choice for this specific project?
No, not at all. I don’t have a specific preference. I always choose the camera and lenses based on the project I’m working on, whether it’s a documentary, commercial, or narrative fiction. I think about the specific needs and characteristics of the project, and from there, I pick the tools that will best serve the creative vision. It’s always been that way for me.
We tested several cameras and ended up going with the Sony Venice 2. The main reason was its high sensitivity which was essential for scenes where a single candle was our only light source. It performed really well, with minimal noise and a very pleasing, film-like texture and the 8K was a big plus for VFX work, and the Full Frame sensor really helped with depth of field, especially during virtual production, where we were working with large background screens.
We tested several cameras and ended up going with the Sony Venice 2. The main reason was its high sensitivity which was essential for scenes where a single candle was our only light source. It performed really well, with minimal noise and a very pleasing, film-like texture and the 8K was a big plus for VFX work, and the Full Frame sensor really helped with depth of field, especially during virtual production, where we were working with large background screens.
How did you end-up choosing the Optimo Primes? Which focal length did you actually use the most?
Once we had settled on the camera, we faced a key requirement: given the scale of the project and the number of VFX shots, it was essential that the lenses could transmit metadata to the camera to support the post-production process. That immediately ruled out a lot of lenses that didn’t meet this criterion, narrowing down our options from a technical standpoint.
C&L, the rental house we partnered with, had several Full Frame options available, including the Angenieux Optimo Primes, which offered full compatibility with the Sony Venice.
One of my all-time favorite lenses is the Angenieux 18.5mm Type R2, and I found that the look of the Optimos carries on the legacy of a brand I’ve always loved.
On top of that, we were telling a story that, for us, holds legendary cultural value, so I needed my lens choices to live up to the legacy and weight of El Eternauta.
C&L, the rental house we partnered with, had several Full Frame options available, including the Angenieux Optimo Primes, which offered full compatibility with the Sony Venice.
One of my all-time favorite lenses is the Angenieux 18.5mm Type R2, and I found that the look of the Optimos carries on the legacy of a brand I’ve always loved.
On top of that, we were telling a story that, for us, holds legendary cultural value, so I needed my lens choices to live up to the legacy and weight of El Eternauta.
Most of this season takes place during a snowstorm, which meant we were working with a lot of practical effects, something that really tests the durability and resilience of the camera gear. I had no doubt the Optimos would hold up under pressure.
We also planned to do some zoom shots in-camera, and I had already made my choice: Angenieux Optimo, truly the global standard for zoom lenses. There was no need to overthink it. The visual consistency between our primes and zooms was seamless, which also made things much easier in post.
We used all 12 focal lengths from the set on this project, but if I had to single one out, it would be the 40mm. On Full Frame, it acts like a “normal” lens but with more punch, almost like a wide, but with beautiful bokeh and strong character for close-ups. It’s a great all-around lens. Super versatile, we used it a lot on tripod, handheld, and Steadicam.
We also planned to do some zoom shots in-camera, and I had already made my choice: Angenieux Optimo, truly the global standard for zoom lenses. There was no need to overthink it. The visual consistency between our primes and zooms was seamless, which also made things much easier in post.
We used all 12 focal lengths from the set on this project, but if I had to single one out, it would be the 40mm. On Full Frame, it acts like a “normal” lens but with more punch, almost like a wide, but with beautiful bokeh and strong character for close-ups. It’s a great all-around lens. Super versatile, we used it a lot on tripod, handheld, and Steadicam.
Are there some particularities of the Optimo Primes that you enjoyed specifically?
A lot, actually.
The durability while remaining lightweight, along with the consistent size, weight, and aperture across most focal lengths, is a huge advantage. That kind of uniformity is essential.
The IOP (Integrated Optical Palette) technology is also something I find amazing, it allows you to customize the look of the lenses. We had a lot of fun during camera tests, playing around with different combinations. But since this was a project where the footage would be heavily worked on in post, we ultimately leaned toward a more natural look.
The flares are subtle and only show up at just the right moments, the bokeh is beautiful, and, on a more personal note, I just love the red and black design.
The durability while remaining lightweight, along with the consistent size, weight, and aperture across most focal lengths, is a huge advantage. That kind of uniformity is essential.
The IOP (Integrated Optical Palette) technology is also something I find amazing, it allows you to customize the look of the lenses. We had a lot of fun during camera tests, playing around with different combinations. But since this was a project where the footage would be heavily worked on in post, we ultimately leaned toward a more natural look.
The flares are subtle and only show up at just the right moments, the bokeh is beautiful, and, on a more personal note, I just love the red and black design.
We could read that some Angénieux zoom lenses were used as well, can you tell us more?
Yes! We used the Optimo Ultra Compact 37-102 and the EZ1, which we often mounted on telescopic cranes to combine zooms with camera movement.
And of course, the Optimo 24-290, which, even though it’s Super 35, we used for zoom shots and extreme telephoto frames.
It’s an essential on any setup.
And of course, the Optimo 24-290, which, even though it’s Super 35, we used for zoom shots and extreme telephoto frames.
It’s an essential on any setup.
Were you able to identify the iconic Angénieux look across both the Prime and zooms?
For me, the Angenieux look is synonymous with cinematic elegance.
From the very first tests, I found that the Optimo Primes offered the perfect balance between sharpness and softness without any distracting distortions or issues that might complicate things in post-production.
What I was looking for, ultimately, was a lens that could capture the realism we were aiming for in an organic, cinematic way. An image that was soft and gentle in its rendering of skin tones, but still sharp enough to hold up throughout the entire post process.
I truly believe these lenses were key in helping shape the unique visual aesthetic of El Eternauta.
From the very first tests, I found that the Optimo Primes offered the perfect balance between sharpness and softness without any distracting distortions or issues that might complicate things in post-production.
What I was looking for, ultimately, was a lens that could capture the realism we were aiming for in an organic, cinematic way. An image that was soft and gentle in its rendering of skin tones, but still sharp enough to hold up throughout the entire post process.
I truly believe these lenses were key in helping shape the unique visual aesthetic of El Eternauta.
We could identify that you’ve used some filtering as well, did you go for front filtering or used to IOP with the Optimo Prime series?
I only used 1/8 Black Pro-Mist filters to slightly soften the image, but mainly to create that subtle halo around candles and lanterns that I really like. The IOP feature of the Optimo Primes is great, but in this case, I chose to use front filters because sometimes I needed to keep the lenses clean either for VFX reasons or because there was so much fog and snow on set that it was already washing out the image. This way, I had the flexibility to remove the filter at any moment without having to take the lens off.
Would you be keen to shoot again with the Optimo Prime series?
Yes!
They’re already part of El Eternauta’s look. My first short film at university was shot on 16mm with an Éclair NPR and an Angenieux 12-120 zoom. I’m also a big fan of the 5.9mm and the 18.5mm, they’re the lenses that left the biggest impression on me when I started my career.
As I mentioned before, the Optimo Primes are synonymous with quality and reliability. They stood up to the El Eternauta shoot, which I can assure you was pretty tough…
I would definitely use them again.
They’re already part of El Eternauta’s look. My first short film at university was shot on 16mm with an Éclair NPR and an Angenieux 12-120 zoom. I’m also a big fan of the 5.9mm and the 18.5mm, they’re the lenses that left the biggest impression on me when I started my career.
As I mentioned before, the Optimo Primes are synonymous with quality and reliability. They stood up to the El Eternauta shoot, which I can assure you was pretty tough…
I would definitely use them again.
Lastly, do you have any interesting anecdotic story of “El Eternauta” to share with us?
I can confirm there will be a second season, and of course, I’ll be “putting on the DOP suit” (pun intended) again.
One memorable story from the shoot related to the lenses happened during a scene inside the train cabin, right before it crashes into the wall of cars.
We filmed part of this scene on a set with virtual production and other parts on the actual moving train. That day, only two actors, the director, and I were inside the very cramped control cabin. I was operating the camera, and the director was right beside me with a small onboard monitor.
At the moment the train hits the car pileup, an FX dust bomb was triggered, but what we didn’t know was how powerful it would be. The cabin got completely filled with dust, and the director, myself, the camera, and the lenses were all covered, like white statues!
Luckily, the take made it to the final footage, and the lenses survived the impact!
One memorable story from the shoot related to the lenses happened during a scene inside the train cabin, right before it crashes into the wall of cars.
We filmed part of this scene on a set with virtual production and other parts on the actual moving train. That day, only two actors, the director, and I were inside the very cramped control cabin. I was operating the camera, and the director was right beside me with a small onboard monitor.
At the moment the train hits the car pileup, an FX dust bomb was triggered, but what we didn’t know was how powerful it would be. The cabin got completely filled with dust, and the director, myself, the camera, and the lenses were all covered, like white statues!
Luckily, the take made it to the final footage, and the lenses survived the impact!
