Greek cinematographer Giannis Georgiou, sharing his experience with the Optimo Ultra 12x in S35 as well as both of the Optimo Ultra Compact Zooms in Open Gate format.
Could you tell us about your relationship with the production/direction and how the project came to life ?
The project came once again this year through Topcut-Modiano and director Gregoris Rentis. Greg and I have a long-standing collaboration and have built a strong visual language together. For this commercial, our goal was to create something elegant, realistic, and cinematic — but without resembling too much our previous campaign for Stoiximan. From the very beginning, we were fully aligned in terms of tone and storytelling.
Can you tell us about the artistic guidelines defined for this commercial? Did you have any constraints or specific requirements from the director?
The main guideline was to achieve a grounded realism with a cinematic approach. We wanted the viewer to feel immersed in the space, without over-stylizing anything. Greg emphasized natural camera movement — especially the idea of following the jersey in motion, almost as if we were tracking its journey — to visually connect the player, the space, and the energy of the game. I focused on subtle lighting to support the emotional tension, particularly inside the stadium.
The biggest constraint came from working with star players — we had to move fast and think smart, because, well… patience is not always their strong suit (and then they just leave, haha).
Regarding camera and lenses, do you usually have any go-to package? How did you make your choice for this specific project?
I do have a few favorite setups, but I always start with the script and the tone of each project. In this case, Greg asked for flexibility, speed, and a cinematic look. He actually suggested the big Optimo for the tele shots inside the stadium — we really love that lens! Knowing that White Balance had also brought the other two zooms, we decided to use the full set. That’s how the lens package came together.
How did you end up choosing the Optimo Zooms?
The Optimos stood out for their outstanding image quality and that unique, “crafted” texture they bring. They gave us the flexibility to move quickly without compromising the cinematic feel. We chose zoom lenses, but we never intended to actually zoom — we used them as primes, taking full advantage of their versatility while keeping a consistent aesthetic. The three lenses work beautifully together and helped us maintain visual consistency across different locations and lighting conditions. The quick changes and prime-like performance were a game changer for this project.
How did you use and mix the three different zooms?
The 16–42mm was mounted on the Steadicam for dynamic, wide-angle shots. The 28–76mm was our main lens for medium shots, either on Steadicam or tripod. The 24–290mm, due to its weight, went on the Technocrane with a Scorpio head, delivering striking telephoto shots inside the stadium and among the crowd. Each lens had a specific role.
Are there some technical aspects of the Optimo Zooms that you specifically enjoyed? How did the lenses behave?
What I appreciated most was the consistency and harmony across all three zooms. The flares had character without being overwhelming, contrast was well-balanced, and highlight roll-off felt organic. Skin tones were beautifully rendered — a key element for us. On a fast-paced set, having zooms that behave like primes was a huge advantage.
