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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Angenieux Type EZ (new) VS Angenieux Optimo DP (used)

Lens test: Angenieux Optimo vs Angenieux Optimo Style; spherical vs anamorphic




By Lukasz Baka




Various set-ups:
1. Angenieux Optimo 15-40mm vs Angenieux Optimo Style 16-40mm
2. Angenieux Optimo 15-40mm vs Arri Master Anamorphic 40mm
3. Arri Master Anamorphic 40mm vs Fujinon 14-35mm vs Sony Cinealta 25mm

Crew:
Adam Korcz, Jan Sadowski, Łukasz Skwara, Katarzyna Średnicka, Clemence Thurninger

Thanks to:
4Vision
Maciej Marszałek from All for movies
Izabela Pikuś from Panasonic Poland
Tomasz Ślązak from JBD Poland
Marcin Tkaczyk from Sony Poland
 
NowHere Trailer



By Lyle Vincent





This is a trailer for a series which vignettes artists and musics in Brooklyn. Shot on Sony F3 with Cooke speed panchro lenses and Angenieux 15-40mm. Yousheng (Yoshi)Tang on steadicam.
 
Ruqsana Begum: World Champion




By Alex Knowles




On April 23 2016 Ruqsana Begum was crowned WKA World Champion, but growing up as a female in a strongly religious, strict Muslim household made becoming a Champion an even greater challenge.
Producer/Director: Paula Haydock
Producer/Director: James Callum
Camera: Alex Knowles
Camera: Josh Montague
Steadicam: George Simpson
Sound: Mike Mcginn

Arri Amira // Angenieux 15-40mm
Arri Alexa // Angenieux 30-76mm
Sony F5 // Canon CN7 17-120mm
 
I've put both a DP 16-42 and an EZ on a projector, and the EZ wasn't as sharp as the DP wide open. At T 4 and up this gets better.

But the big difference is the haptic build quality. The DP is a sturdy classic cine lens all made of metal to last decades and mistreatment on set, while the EZ is this precisely not. I was told the EZs are not build in France. Image-wise, there are differences too. The DP has a distinct personality without being particularly flat. It does show some barrel distortion in the short end. CA is very well controlled. Flares are nice, and sharpness is well kept. The DP has an S35mm heritage and as such all the virtues (and issues). In the end, it's a more affordable variant of the fabulous 15-40 which is a classic. Can't say much about the EZ in this regard. But as it is meant to work in FF, it must be a different lens which again will pay into its personality.



Regarding full format, I can't say much about the EZ because I never shot with them with a proper full format cine camera. But I've shot with other lenses on FF and found that vignetting can be an issue despite the bigger advertised image circle. I'm not saying that this is the case with the EZ, but I would test that thoroughly before purchasing them. Zoom lenses are prone to vignetting in the short end.

Hans
 
Hans- The EZ was designed originally as a FF lens, and then they created a 2nd element set to act as a speed booster and bring it to S35 format. The lens performs best in FF setup. I had the opportunity to go to BandPro and speak with Jeff Cree- the designer of the lens. They aren't Optimo quality, but they are damn good for the money... Any yes, they are manufactured in Japan- tp Angenieux's standards...
 
DC Chavez said:
Hans- The EZ was designed originally as a FF lens, and then they created a 2nd element set to act as a speed booster and bring it to S35 format. The lens performs best in FF setup. I had the opportunity to go to BandPro and speak with Jeff Cree- the designer of the lens. They aren't Optimo quality, but they are damn good for the money... Any yes, they are manufactured in Japan- tp Angenieux's standards...
Click to expand...

This is true for one of the EZ lenses. Forgot which one.
 
Thanks for this, Hans. From all the tests I've viewed so far it seems like the EZ in FF config has no vignette even on RED VV, with very little light fall off towards the edges. It certainly seems like the most compelling case for buying an EZ would be for FF/VV, and if I am going to be shooting mostly s35 the DPs would be a better purchase.



Hans von Sonntag said:
I've put both a DP 16-42 and an EZ on a projector, and the EZ wasn't as sharp as the DP wide open. At T 4 and up this gets better.

But the big difference is the haptic build quality. The DP is a sturdy classic cine lens all made of metal to last decades and mistreatment on set, while the EZ is this precisely not. I was told the EZs are not build in France. Image-wise, there are differences too. The DP has a distinct personality without being particularly flat. It does show some barrel distortion in the short end. CA is very well controlled. Flares are nice, and sharpness is well kept. The DP has an S35mm heritage and as such all the virtues (and issues). In the end, it's a more affordable variant of the fabulous 15-40 which is a classic. Can't say much about the EZ in this regard. But as it is meant to work in FF, it must be a different lens which again will pay into its personality.



Regarding full format, I can't say much about the EZ because I never shot with them with a proper full format cine camera. But I've shot with other lenses on FF and found that vignetting can be an issue despite the bigger advertised image circle. I'm not saying that this is the case with the EZ, but I would test that thoroughly before purchasing them. Zoom lenses are prone to vignetting in the short end.

Hans
Click to expand...
 
Thanks for this, Rand – and for all the other examples you have posted. This test has been especially useful in evaluating the image of the EZ.

I think my favourite images in this test come from the Optimo Style and the Cine Xenars. The EZ 15-40 comes in a close 2nd, along with the TLS Morpheus at the longer end (which is a converted Nikon 80-200). They don't pop quite as much as the Optimo, colour is still lovely though.

I did notice that at around 13:16 the EZ-1 at 35mm t2 has a strong halo around the back light source. On the other hand, the EZ-2 at 35mm t2 doesn't have the halo, but has more distortion at the edges of the frame. Neither issue is present in the Optimo Style. From all reports I have been led to believe the Optimo DPs would behave very similarly to the Styles.

rand thompson said:
Cine- und Cine Modded Lens comparison at zumirent.ch



By Foto Video Zumstein






In this lens test we compare different Cine lenses with Cine Mods and high quality photo lenses. The idea behind this test was to deepen my knowledge about the different lenses from the zumirent.ch range for myself. Hopefully this test will help you to find the right look for your next film project.
The camera used for all shots is a Sony PXW-FS5 MK II. With this camera it was possible to use PL, EF and E-Mount lenses. By the integrated Vario-ND more or less the exposure could be kept immediately. No corrections were made regarding brightness, color or contrast.
Especially in the outdoor shots a big difference concerning color and contrast between the different lenses can be seen very clearly.

The test is always carried out in the same way. First, if available, aperture 1.4 then 2.0 or a similar value and finally aperture 5.6.

For the indoor shots a sharpness drive was made from the tube (1) to the eyes (2), to the background (3) and then back to the eyes (4). Finally, a back light source (5) runs from right to left through the picture.

In the outdoor shots, a focus drive of 1m distance (1), to the eyes (2), to the background (3) and then back to the eyes (4) was made.

The following lenses were used for this test:

Indoor Scene with 18-21mm:
Angénieux Type EZ2 15-40mm T2.0
Angénieux Optimo Style 16-40mm T2.8
Fujinon MK 18-55 T2.9
Leica R 19mm F2.8 Version II
Schneider Cine Xenar III 18mm T2.2
Sony E PZ 18-110 F4 G OSS
Zeiss CP.3 XD 21mm T2.9
Zeiss LWZ.3 21-100mm T2.9-3.9

Indoor Scene with 25-35 (35mm):
Zeiss Otus 28mm F1.4
Angénieux Type EZ1 30-90mm T2.0
Angénieux Type EZ2 15.40mm T2.0
Angénieux Optimo Style 16-40mm T2.8
Fujinon MK 18-55 T2.9
Schneider Cine Xenar III 35mm T2.1
Schneider Xenon FF 35mm T2.1
Sigma Art 35mm F1.4 DG HSM
Sony E PZ 18-110 F4 G OSS
Veydra 35mm T2.2
Zeiss CP.3 XD 35mm T2.1
Zeiss LWZ.3 21-100mm T2.9-3.9

Indoor Scene with 75-85mm (80mm):
Angénieux Type EZ1 30-90mm T2.0
Fujinon MK 50-135 T2.9
Leica R 80mm F1.4
Schneider Cine Xenar III 75mm T2.0
Sigma Art 85mm F1.4 DG HSM
Sony E PZ 18-110 F4 G OSS
TLS Morpheus 80-200mm T2.8
Zeiss CP.3 XD 85mm T2.1
Zeiss Otus 85mm F1.4
Click to expand...
 
Thanks for this, DC.

I shoot primarily on two camera systems. I own a Sony FS7, for which the s35 t2 would be very useful. I often rent RED, Dragon mostly but Gemini going forward is going to be more popular with clients, and my preferred choice.

The ability to use EZs on Gemini and Monstro (when I have a production request it), along with Sony Venice is the reason I'm looking at buying in to them. Otherwise, I think the image and build quality, coupled with the used price of a DP would swing it for me.

How are you finding the image of the EZs wide open? and are you using them in s35 t2 or VV t3?

Thanks!

DC Chavez said:
I just bought the EZ1/EZ2 set. Great lenses that have a super high performance for dollar spend. What camera are you using? The only lens that Angenieux has which will cover the image circle of Helium or Monstro is the EZ... Everything else in the range will vignette...
Click to expand...
 
To throw another curve ball in to the mix, I have just been offered an Optimo 15-40 t2.6 for a very good price, sub £12K. It is from a main dealer, and from the photos it looks to be well used, with a small dent in the rim of the 114mm front. Obviously, I would need to test and evaluate this lens in person before considering it, but at that price it is very tempting.

I would also want to know why it has a dent in the rim – was it dropped, and if so is there any other damage?

Perhaps, if it is good condition, and I can find the extra £££, this Optimo 15-40 t2.6 would be the best option to go for?
 
Adam,


You're welcome! I think I like the look of the Optimo, but I like warm, saturated and contrast images anyway.
 
EZ-2, DP in Oculus mall NYC




By Owen Crowley




A comparison of the Angenieux EZ-1 with its Optimo DP older sister, shot by a friend on his Varicam LT. Note about the lighting — there are large screens running ads off camera to the right.



EZ-2, DP in Winter Garden mall




By Owen Crowley



A comparison of the Angenieux EZ-1 with its Optimo DP older sister, shot by a friend on his Varicam LT. Unfortunately the on-duty staff would not let us use the tripod. We did our best.
 
SIEMENS - INGENUITY FOR LIFE (director’s cut)




By Henry - Bourdaud




réalisatrice : Sophie Muller
format : Arri Alexa / Angenieux Optimo DP
production : Krysalid Films
agence : Publicorp



Repetto, L’Attitude.





By Jérôme de Gerlache





This film is a tribute to all the craftsmen who make these gorgeous shoes.
The music was choosen has a tribute to Serge Gainsbourg whom was a real fan of the "Richelieu zizi" model.
Directed by Jérôme de Gerlache
Photography Jérôme de Gerlache assisted by Pascal Boudet.
Colorgrading Jean-Christophe Savelli @ Serilab Studio
Produced by Clement Gaucher for Ubiquity films

Shooted with an Arri Amira and Angenieux optimo DP lenses.
 
Here are a few shots of the EZ's in action on my last shoot... Will share footage when the project

g3mKpSI.jpg

eXcajEc.jpg

NGZNCBy.jpg

XAifRTe.jpg
 
TVC - Sharp 8K “See Beyond”





By Tone Prot Promprot





Production House : Good Take Co., Ltd.
Shot by : ARRI Alexa Mini & Phantom Flex 4K / Carl Zeiss Masterprime & Angénieux Optimo Lenses
 
CM - Kubota “Change”




By Tone Prot Promprot




Production House : SPG Co., Ltd.
Shot by : ARRI Alexa Mini & Phantom Flex 4K / Carl Zeiss Masterprime & Angénieux Optimo DP Lenses





TVC - Toyota Hilux REVO “Z Edition”





By Tone Prot Promprot





Production House : Arcade Production Co., Ltd.
Shot by : ARRI Alexa Mini / Carl Zeiss Masterprime & Angenieux Optimo Lenses
Leave the first comment:
 
Last edited:
TVC - Wiko Tommy 3 plus “A Day”





By Tone Prot Promprot





Production House : Good Take Co., Ltd.
Shot by : ARRI Alexa Mini / Leica Summilux-C & Angénieux Optimo Lenses





TVC - Mitsubishi Pajero Sport “Elite”






By Tone Prot Promprot






Production House : Revolution Films Co., Ltd.
Shot by : ARRI Alexa Mini / Carl Zeiss Masterprime & Angénieux Optimo Lenses / GoPro HERO7 / DJI Inspire 2
 
TVC - Decolgen “Crows Zero”





By Tone Prot Promprot






Production House : VOK Bangkok Co., Ltd.
Shot by : ARRI Alexa Mini / Carl Zeiss Masterprime & Angénieux Optimo 24-290mm Lenses






CommBank - Keep The Beat





By Jordan Maddocks





Production Company - Revolver/Will O'Rourke
Agency - M&C Saatchi
Director - Alex Smith
DOP - Jordan Maddocks
Shot on Arri Alexa Mini with Zeiss Mk3 Super Speeds and Angenieux Optimo Zooms






BFI Into Film





By Edward Crompton





Director of Photography: John Craine
Director: Jonathan Harris
Production Comp: Working Title
Camera: Arri Amira (with Angenieux Optimo Zoom)






Production House : VOK Bangkok Co., Ltd.
Shot by : ARRI Alexa Mini / Carl Zeiss Masterprime & Angénieux Optimo 24-290mm Lenses
 
Trailer “RAZZIA” cinematographed by Virginie Surdej (SBC)





By SBC






The streets of Casablanca provide the centerpiece for five separate narratives that all collide into one.
Titel Razzia
Director: Nabil Ayouch
DOP: Virginie Surdej
Production: Unité de production-Les films du nouveau monde-Artémis productions-Ali n' productions
Shootin'days 50
Release Belgium 25.04.2017

Technical Specs
Camera
Type: Cam A/Alexa mini
Recording format: 3.2K/Prores 4444
Aspect Ratio: 2.39
extra Camera
Type: Cam B/Alexa mini

Lenses Cooke S4
extra lenses Optimo 28-76/optimo 45-120
Stabilising system stabe one
Drone-set up octocoptere Freefly
Basic grip/dolly peewee IV

focus puller Zakaria Badreddine (1ac CamA)/ Myriam Amouri (1ac CamB)
camera operator Amine Messadi
second cam ass/DI -manager Younes Zoughi
gaffer Brahim El Mezhri
gripper Simohamed Eloirdi
colorgrader Thomas Bouffioulx
Postproduction co. La Ruche studio/ Studio l'Equipe
 
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