With retrozooms you have the possibility to add drama to a shot. The spectator doesn't necessarily see the effect but feels that something is changing which creates a special atmosphere. You feel that something is about to happen.
I used two Optimo zooms from Angenieux, the 28-76 and the 45-120. The alliance of the blur and the organic distortion helped to built a round image. The lenses used broke the digital sharpness and emphasized the nuances of the skin. This softness encompassed the feel good and warmth spirit of Ana, the main character who was, at the time, crossing the summer heatwave.
Artur Zurawski PSC
The main advantage was the size and weight. I could easily use it even with steadicam when the very quick changing of focal length was necessary. And another advantage is amazingly short the close focus distance - 0.63m. With this feature I was treating this lens also almost like macro lens. All very close/ macro shots I done with this glass.
I used the 30-72mm and the 56-152mm zooms. I've used them quite a bit before in commercials and love them. I've used the 15-40 and 28-76mm spherical zooms for years as well and have them on almost every shoot.
When I first tested the 56-152 lens, I was very surprised that it was possible for an anamorphic zoom to be so light! It was hard to believe that it weighs only 2.2 kgs - less than the other anamorphic prime block lenses. I was also amazed that an anamorphic lens with such a wide range of 56-152, could have the ability to focus at a close distance of (MOD) - 63 cm (2 ft. 1 in.)! When I used this lens in India (October 2014), I couldn’t even get a block anamorphic lens with such close Focus.
With Angénieux lenses specifically I’ve used the Optimo Style 16-40 on almost every project recently and also the Optimo Style 30-76 and 25-250. There really aren’t any other zoom lenses that have the same look and feel for me and are as lightweight for my applications. I’ve come to love the warm color tones, the way they flare when you want them to when pointed into the sun and how sharp the images are.
Darius Wolski ASC
[...] What equipment are you using? "On “Exodus” we had five rigs. We have two wide rigs and two tight rigs. That's why those little Angenieux Optimo zooms are basically indispensible. They are the best thing that could happen for us. "
Stephen F. Windon ACS ASC
“I’m owner of the fabulous 15-40mm Optimo, one of my favorite lenses in my kit. I knew the benefits of having a lightweight anamorphic zoom lens for remote head work and I love the energy of a hand held camera."
Darius Wolski ASC
[...] Is there anything you’d like about Angénieux? "It’s a fantastic modern lens right now. I mean, their short zooms are revolutionary. If you have to make a low-budget film, you can take one camera, and you can take those two zooms, and you can shoot the entire film with two short zooms. You can hand-hold, you can use them as variable primes. They are practical. That’s how we do our big 3-D movies."
Norimichi Kasamatsu JSC
"[...] In terms of optical performance, these new anamorphic zooms (56-152 A2S and 30-72 A2S) are light years ahead of old HR lenses with anamorphic rear adapters. Having zooms on the Steadicam is extremely useful as you can save time re-balancing the rig after a lens change, and you have the flexibility to adjust the frame easily."
Satya Rai Nagpaul
The choice of the 24-290 was to have one zoom in the lens package that can be a life safer !
Jean-Marie Dreujou AFC
What are your feelings concerning Angénieux lenses ? I liked to use the new 28-340 on Wolf Totem with the Angenieux 2x extender. I appreciate its very homogeneous optic quality. When I started as an operator, I frequently used Panavision lenses such as 24-275, with a 2.8 aperture, which was an enormous advantage when shooting in 35 argentic mm.
"[...] My experience using this lens was excellent. I am putting the lens to the test in some of the most fast-paced, chaotic and high profile sporting events in the world. For me it is very important to be able to rely on my equipment and also be able to create a certain style and look that I am happy with and that maintains a high level that my clients are accustomed to."
"[...] I really liked the smoothness of the rings on the Optimo Style lenses. The focus is smooth and precise. I played a lot with the iris in order to adapt the exposure of the sensor as the light changed often from bright to gray when a cloud was suddenly hiding the sun. I used the camera LCD screen to adjust the aperture of the lens."
And your new Optimo 56-152 2S came out – with a much longer lens range, precision of use for combining very complex camera movements with the complementarity of the zoom, an uncommon softness while still keeping the required definition, a considerable dynamic range, surprisingly light physically (as much on a Panther or a crane as on a Steadycam), and so on.
It was the perfect lens for hand held work. The focal lengths were exactly right. The lens is very sharp and optically on the same level as the longer Optimo zoom. For me it is a must have on any anamorphic movie.
I was very happy to use those three Optimo lenses. They were the perfect glasses for this project, allowing me to be fast, responsive, without having to compromise on quality. They performed very well in every situation.
There were no issues with the optics of the lenses during the entire shoot which is a testament to the quality build of the Optimo Zooms.
Checco Varese ASC
Well, I've been a big fan of the Angenieux for a long time. I started as a news cameraman, so to me the concept of being able to adapt the composition to what the reality is very important, especially in a mine where we try to adapt the reality to us. In a mine you just can't move anything. So, you better adapt your image to that.
Eric Guichard AFC
The idea was to work as close as possible to the animals. I thought Angénieux zoom will be the perfect optics to achieve the look I wanted for “Seasons”.