a blog by Matthew Duclos
The legend of the Angenieux 12x zoom is one that most cinematographers know by heart. Since the original 24-290mm T2.8 first landed on sets, it has been the gold standard for long-range cinema zooms. With the introduction of the Optimo Ultra 12x 65, Angenieux is expanding that legacy to the medium format market in more than one sense of the word with a truly impressive bit of optical engineering that packs a massive punch.
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There’s something inherently bold about launching a new lens series with a 16mm, especially when that lens is designed to cover a 65mm image circle. NiSi’s latest announcement, the 65 PRIME 16mm T2.9, isn’t just another ultra-wide. It’s a statement of intent. And having seen an early prototype firsthand, it’s one that carries more weight than you might expect.
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Cooke Optics has re-entered the large-format cinema scene in a big way, launching the Panchro 65/i series, specifically crafted for true 65mm digital sensors. The series harks back to Cooke’s early commitment to large format in the 1950s, when it produced lenses for both VistaVision and 65mm film formats, seen in films like Vertigo (1958) and To Catch a Thief (1955). Now, with 65mm imaging back on the digital radar, Cooke’s Panchro 65/i aims to bring the magic of its classic Speed Panchros to today’s larger format.
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