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Meet the Angenieux Optimo Ultra 12x Multi-Format Monster

As dependable as ever, Angenieux has released another perfect lens. The Optimo Ultra 12x cine zoom is really the next bar to measure other zoom lenses against. This time, they’ve created a multi-format monster that can cover 3 sensor sizes — including the new and exciting Full-Frame format that is on track to be this year’s summer jam.

As the format can change, the zoom range also changes slightly in regards to which lens element you’ve chosen. The options are for standard Super 35, Ultra 35 — a format created for S35+ formats like ARRI Open Gate, Sony Venice 5.7K 16:9, 6K RED Dragon, 8K RED Helium — and Full-Frame/Vista Vision targeted at large format cameras like the ARRI ALEXA LF, RED Monstro, RED 8K Vista Vision, and Sony Venice Full-Frame 6K.

The zoom ranges break down into these groups, and you’ll see that change in speed as well:

  • S35 [31.6mm] 24-290mm T2.8
  • U35 [34.6mm] 26-320mm T3.1
  • FF/VV [46.3mm] 36-435mm T4.2

Tests below are from the Sony Venice at 5.7K 16:9, with the Ultra35 format.

26mm [note the vingette is only visible in the “look around” setting at 16:9, and is not recorded].

 

320mm

This flexibility in format is exactly what rental houses are looking for — a lens that you can depend on, and that can change to fit your format needs from job-to-job. Just let your Rental Agent know which camera you’re using, and we can make sure it matches up.

The build quality is exactly what’s to be expected from the Optimo line-up, which is a visually near-perfect parfocal zoom that is very pretty, very heavy, and very expensive. No, this lens won’t be the everyday shooter’s go-to, but commercial and episodic productions will certainly get use out of this artillery-style zoom. With the 12x range, this isn’t something that’s meant to be taken off the camera that often. It’s your “on sticks, workhorse zoom”, just like the previous 24-290 models.

What excited me most about this lens is the Ultra 35 option. Yes, S35 is the standard, and, yes, Full-Frame sure is the cool, new kid on the block; but so many cameras have odd, non-standard sensor sizes. Having a lens that works well, specifically for Venice 5.7K, RED Helium 8K, and ARRI Open Gate is pretty phenomenal. Of course, designing a lens just for these odd sizes would be insane, which is where the flexibility of the multi-format option saves the day. I don’t know what the future will hold for imager sizes, but I do know that this lens will probably fit them.

More good news: You can take this lens for a spin at a 25% off in June. Just contact Rentals for details.

– Alex Enman, Engineer

 

Hands-on with the Fujinon Premista Full-Frame Zoom

Join Fujinon’s Tom Fletcher and Bob Van Bodegon for a hands-on demo with the new Premista 28-100mm Full-Frame Zoom Lens. Learn how the new Premista lenses will maximize the benefits of large format camera sensors, facilitate high-quality capture with outstanding resolution, beautiful bokeh, and rich gradation with HDR.

Fujinon will screen a BTS look on the set of RHINESTONE BLUE, the first film shot on FUJINON Premista large format lenses.

Plus, hands-on and testing with the Musashi 1.4 Expander — a great combo with the Cabrio 19-90mm T2.9 which turns it into 26.5–126mm T4.1 + Cabrio 85-300mm T2.9 which turns it into 119-420mm T4.1.Lots to see… and Zack’s Ice Cream Truck makes a stop at Rule from 2-2:30!

RSVP: events@rule.comGET YOUR FAVORITE ICE CREAM BAR FROM ZACK’S ICE CREAM TRUCK — 2:00 TO 2:30PM! • DEMO RUNS 2:00-4:00pm • ALL FREE! 
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Rent the Angenieux Optimo Ultra 12x Zoom Lens at 25% Off in June

The best just got better! Rent the Angenieux Optimo Ultra 12x Zoom lens at 25% off all-month-long!

The Angenieux Optimo Ultra 12x Zoom Lens, with new optical and mechanical design, delivers unparalleled optical performance and mechanical reliability.  

Angenieux’s Interchangeable Rear Optics technology allows for the lens to be switched between 3 modes of coverage: Super 35mm, Ultra 35mm, and, coming soon, Full Frame/VistaVision.

Features include improved optical and mechanical design, no ramping, minimal breathing, superior optical characteristics, 321 degree focus ring with over 70 marks, and top carry handle. Click here to read Alex Enman’s blog post on this “multi-format monster”. 

Rent it for 25% off the regular rental rate of $695/day in June! Contact Rentals by email or phone at 800-rule-com for details, including multi-day rates.
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The Angenieux EZ-1: Affordable and Flexible Cine Zoom

The Angenieux EZ-1 30-90mm T2 Super35 zoom lens is one of a handful of lenses in the quickly expanding category of affordable cine-zooms. For a long time, cinema zooms were always two things: heavy and expensive. In the past year or so, we have seen manufacturers innovate and release a new group of lightweight cinema zooms. To name a few: Zeiss 21-100mm, Sigma 18-35mm / 50-100mm, Fujinon 18-55mm, and Canon 18-80mm. As a documentary and commercial shooter, it has been great to see this huge increase in choices at a reasonable price. I find myself taking the Angenieux on set because of its size, its flexibility, and its wide open performance.

First and foremost, the size, weight, and handling of this lens is superb. It is well-balanced and weighs in at just 4lbs. I shoot a lot of handheld and gimbal work so weight is always a factor. Having built-in focus, iris, and zoom gears is a big advantage in both keeping the lens streamlined and removing any extra weight from add-on 3rd party focus gears. The EZ-1 also features rubberized grips along the lens for better control when not using a follow focus. This lens is built with the operator in mind.

In the documentary world, staying flexible on set is a must. The ability to quickly go from PL to EF to E mount on set with no tools is a big deal. Pairing lenses and sensors is a big part of a cinematographer’s job these days — both from an aesthetics standpoint and a function standpoint. This lens is equally at home on a Sony a7S wedged inside a car as it is on a 35mm ARRI film camera on a dolly. In addition to the lens mount, you can also change the rear optical block to go from covering just Super35 to covering full frame/ VistaVision. 

There is a certain feeling imbued into lenses by each manufacturer. A subtle difference that doesn’t come across in technical specifications but is often talked about amongst cinematographers and is unique to that manufacturer. Angenieux’s reputation is one of the best in the industry. The EZ-1 fits in easily amongst its family members and delivers the same consistent colors and pleasing sharpness that one should expect from Angenieux.  

-Harvey Burrell, Guest Blogger and Co-founder of Windy Films

 

SHOWROOM DEMO with the New Fujinon MK18-55mm T2.9 Cine E-Mount Lens

Fujinon stops by the RBC Showroom with the new MK18-55mm T2.9 Cine E-Mount Zoom lens (parfocal, no breathing, 2.2 lbs and 4K under $4k!). Join us for a free demo anytime between 10:30am-2:30pm and learn about the many features of this new lens, including:

• High optical performance and T2.9 across the entire zoom range

• Suppresses focus shifts and optical axis shifts while zooming as well as lens breathing by using optical and mechanical designs, not electronic controls

• Fully manual operation with 3 mechanical lens rings, 200º focus rotation, 0.8M gear pitch and seamless iris

• 980g compact, lightweight body thanks to Super 35mm sensor compatibility and dedicated E-mount design

Click here to RSVP.  This event is free.

This lens will be coming soon to Rule Rentals and is available to buy from Rule Sales. Click here to email us or call 800-rule-com.

Watch our new IN THE SHOWROOM video series for a look at the latest equipment + technology available to buy or rent here at Rule Boston Camera.

PARKING FOR RBC EVENTS:

If our parking lot at 395 Western Avenue is full, please park at the Brighton Mills parking lot at 360 Western Avenue, Brighton. Please be sure to RSVP so we can forward the parking pass for your dashboard if you park in this overflow lot, or click on RBC PARKING PASS to print your own. Thanks.