“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.”
“I shot Jungle using Optimo anamorphic zooms, but I used them with Cooke Anamorphic primes. On Arri Alexa XTs in ArriRaw.
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.
The 56-152mm in particular was used a lot, such a versatile and lightweight lens, especially considering it is anamorphic I used the zooms in a mix of handheld, crane and Steadicam situations where we needed the flexibility and speed they provided. For example, there was a big scene where our four main cast were white water rafting down some rapids in Colombia, and also performing dialogue. I was attached to their wooden raft on a rubber camera boat, and the conditions were rocky, difficult and slow to reset. So we used zooms so I could achieve multiple frame sizes and setups in one river run.
There were other times like this when I was on a Technocrane, or a GF8 Crane and didn’t want to be stuck on a prime lens that I couldn’t adjust to the actors movements. So the zooms were used again. Steadicam was also helpful to use the wide zoom so we could flexible too.
Yes they are quite ‘perfect’ looking compared to the imperfections in the Cooke Anamorphics. So I decided when we shot a scene, we would shoot them in completely primes, or completely zooms so you wouldn’t be immediately cutting between lenses and looks.
I’ve shot a few commercials on the zooms, and especially on car TVCs, they are fantastic. I use them on Russian Arms, cranes etc and they fact that they are such a ‘flat’ anamorphic look is great for cars, because you can be assured their is no distortion to the vehicles with is extremely important.”