Ahead of NAB 2017, Angenieux has announced another addition to the Optimo Style line of zooms – a 48-130mm T3. The 48-130mm features a 2.7x zoom range along with the other lightweight Optimo Style zooms, the 16-40mm and 30-76mm. It weighs 4.3 lbs and Angenieux states it is idea for hand held, steadicam and drones productions. Continue reading Angenieux Adds 48-130mm to Optimo Style Line
It was only a matter of time before Angenieux anamorphasized it’s 25-250mm Optimo Style and here it is. A 44-440mm T4.5 2X anamorphic zoom. This lens rounds out the rest of Angenieux’s anamorphic line-up which consists of a wide 30-72mm T4, and the mid-range 56-152mm T4. Let’s take a look at some of the finer details of this brand new anamorphic telephoto zoom. Continue reading Angenieux Reveals New Anamorphic Zoom Ahead of NAB
Not to be outdone by other recent announcements from Canon and Fujinon, Angenieux announced today a new line of Optimo Style lenses that will be added to their extensive, respectable line of professional zoom lenses. The press release details the new lenses as a 16-40mm and a 30-76mm. The two new lenses with be offered with or without their new Angenieux Servo Unit (ASU). No word on the speed of the lenses just yet but it’ll likely be between T2.6 and T2.8. If you’re familiar with Angenieux’s current line of Optimo (15-40mm and 28-76mm) and Optimo DP (16-42mm and 30-80mm) lenses, it may sound like the new Optimo Style line is simply another variation on their existing lenses. The Optimo DP 16-42mm and 30-80mm will be discontinued as individual lenses and available in pairs tuned from the factory as a 3D package. The new Optimo Style lenses will also feature interchangeable mounts in Arri PL, Canon EF, and Panavision flavors. Both new Optimo Style lenses will weigh in at a very nice 4.2 lbs. – almost half the weight of other “lightweight” zooms available. Angenieux goes into more detail noting that these lenses are tailored for high standards of UHD 4K production and will be available Summer 2014.
Other bits included in the press release simply cover existing lenses, shipping soon the new 25-250mm Optimo and their now shipping 56-120mm S2 Anamorphic Zoom. One other detail new to the press release is the Angenieux Servo Unit (ASU) which Angenieux had mentioned about a year ago but has just now officially announced it. the ASU will work with all of the lightweight Optimo lenses. This now makes three manufacturers who have jumped aboard the CinENG train. (I just made that up: Cine + ENG = CinENG get it?) The (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes. It generates lens metadata based on the Cooke/i technology protocol. The ASU and lenses are matched and calibrated at the factory.
Read the full press release below and check back often for live updates from NAB where we’ll find out what the real details are behind the new Optimo Style line of lenses. New optics? Rebranding? Either way, Angenieux has a reputation all over the world for making top-notch cinema zooms.
Press Release from Angenieux
Thales Angénieux Debuts New Optimo Style Lens Series at NAB
Charting New Course for 4K and Beyond Live TV and Mid-Budget Cinema Productions
Las Vegas, NV (April 4, 2014) – Inspired by the escalating demands for cinematic quality content to meet the rise of multimedia viewing and the trend of Ultra definition television, Thales Angénieux is introducing their new Optimo Style Series of zoom lenses. The family features three zooms – two hand-held and one full size — and provides focal length from 16mm-250mm with ability to lengthen the range with a 2x extender. The two lightweight zooms are also available with the optional Angénieux lens servo motorization system.
“A wider spectrum of production content is migrating to a cinematic look with 4K quality and that trend requires equipment which is adaptable to a large variety of cameras, configurations and budgets,” said Pierre Andurand, President and CEO, Thales Angénieux. “The all-new Optimo Style Series addresses those needs and provides a benchmark for quality and price/performance. It takes into consideration the industry’s most stringent requirements for ergonomics and versatility for live TV recording. Angénieux is going to exceptional lengths to ensure the first deliveries of this new lens line will be made in Summer 2014.”
The 16-40mm and 30-76mm zoom lenses are extremely light weight at only 4.2 pounds each, allowing perfect camera balance for on the shoulder or hand- held configurations. The 25-250mm lens, weighing 16 pounds, is an all-purpose zoom featuring the
desirable 25mm wide angle position and a 10x zoom range to meet a variety of production needs. This lens was previously introduced at IBC 2013 branded Optimo DP.
The Optimo Style series is fully compatible with the latest generation of digital cameras and provides the unique cinematic look of the Optimo line at an affordable price. The lenses additionally feature an easily interchangeable mount (PL, Canon EF, Panavision) for full compatibility with a wide variety of cameras.
The Angénieux Servo Unit (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes such as Preston or others upon request. It generates lens metadata based on the Cooke/i technology protocol. To help ensure flawless performance, the ASU and lenses are matched and calibrated at the factory. The ASU will additionally be available as an option for all the Optimo Lightweight Cine Zooms including the Optimo Style 16- 40 and 30-76 and the Optimo 15-40, 28-76mm and 45-120mm lenses.
A quick snap-shot while bench testing a 17-80mm for periodic maintenance. The modern breed of exotic zooms are both work-horses and delicate instruments of perfection at the same time. They require the highest level of calibration to perform at their maximum potential. The 17-80mm was the second lens to join Angenieux’s Optimo team back in the mid 2000’s and is still one of the best 35mm zoom lenses on the market. After regular use on a television series, this particular Optimo only needed minor back-focus calibration and exterior cleaning. It’s no wonder Angenieux is having trouble keeping up with demand for their zooms.
Angenieux has long been the standard for cinema zoom lenses and certainly isn’t stopping anytime soon. NAB brings out the best in new lens manufacturers (and sometimes the worst) so Angenieux took the opportunity to announce their new addition to the Optimo series of lenses. This time it’s a 45-120mm. A little on the longer end of an all-purpose zoom, this will share a lot of the same features as the other light weight zooms like the 15-40mm and the 28-76mm Optimo. It will cover a full Super 35mm sensor/film utilizing a 31.4mm image circle and will feature an interchangeable mount with options for PL, Panavision, Nikon F, and Canon Eos.
The focus scale has 320° of rotation which is about as much as anyone could every want and offers separate interchangeable metric and imperial scales. It will weigh in at 4.3 lbs. making it perfect for lightweight, steadicam, and 3d rigs. It’s a constant T2.8 which isn’t the fastest zoom in the world, but it’s certainly not the slowest and matches well with other pro cine zooms. I’m sure we can expect the same accuracy and quality as the rest of the Optimo lenses. It’s focal range, 45-120mm is a little long even at the wide end giving it a horizontal angle of view of 27.4°-10.5°. A 45mm in a S35 frame is fairly tight and 120mm on the long end gives it a nice versatile throw. It’s 2.7x zoom ratio drops it in the same boat as the other short zooms. I’ll be looking forward to getting my hands on this little bad boy from Angenieux and putting it through the paces. I have no doubt I won’t be let down.
The Cooke 20-100mm is a workhorse of a zoom lens. It’s solid build quality combined with classic “Cooke Look” glass make it a very desirable lens in the current HD market. The other option is to drop a pretty penny on a stellar new Angenieux 24-290mm. The current champion of motion picture zoom lenses. These two cinema zoom lenses are decades apart and even farther apart in cost. An average Cooke 20-100mm costs a mere $7,000 compared to the going rate for a new Angenieux 24-290mm at around $63,000. A little background on these still samples. These were shot with a 35mm full frame 5D which means the vignetting is severe and expected. The settings were the same for each lens, 100mm at T4, ISO 100, 5100K color temp etc. Here are the samples.