ANGENIEUX OPTIMO PRIME

ANGENIEUX OPTIMO PRIME LENSES

Constructed with the highest quality optical elements, the Optimo Primes offer precise and uniform image reproduction throughout the series. Chromatic aberration and distortion are minimised, ensuring sharp images with vibrant colours and impressive contrast.

The Optimo Prime series encompasses a variety of focal lengths to suit a range of shooting situations, from wide panoramas to detailed shots, giving filmmakers the creative freedom they need.

These lenses are built to withstand the demands of professional shooting, ensuring durability and reliability in any environment. Their robust construction is a testament to their ability to withstand the demands of continuous use on set.

In short, Angenieux Optimo Primes are the ultimate choice for those seeking the perfect combination of exceptional optical quality, versatility and reliability in an elite package designed to meet the most demanding needs of professional filmmakers.

FEATUERS ANGENIEUX OPTIMO PRIME

Angénieux has been at the forefront of cinematic innovation for decades. With its recent launch, it contributes to the evolution of the Full Frame Cinema Primes lens field. This lens series, available in three different packages, maintains the legendary Angénieux look, which prides itself on a naturalistic yet controlled aesthetic.

The Optimo Primes maintain the legendary Angénieux look. The lenses offer incredible colour rendition with a controlled aesthetic that controls eye-catching expressions such as lens flare and distortion.

One of the main advantages of the Optimo Primes is their ability to shoot full frame and Super 35 format. In fact, the Optimo Primes can even cover some large formats, such as Alexa 65 (in 5k crop mode only). The Optimo Primes have a remarkable 46.31mm image circle size throughout the package.

Part of the Optimo's appearance is its excellent ability to capture low light scenarios. Its naturalistic appeal is due to the lens's ability to capture naturalistic spaces, such as outdoor shots in environments without direct sunlight. This would not be possible without the incredible aperture capability of Optimo Primes lenses.

Optimo cine lenses have a maximum aperture of T1.8. There are two exceptions: the widest lens (18mm) can open up to T2.0; and the longest lens (200mm) has a wide limit of T2.2.

The Angénieux Optimo Primes are built with impressive consistency. Seven of the twelve lenses in the collection have the same weight and the same 46.31mm image circle. In addition, all twelve lenses have the same 300° rotation. In addition to the wide range of rotation allowing for precise focus pulls, the constant focus rotation means that the focus operation of one lens is essentially the same as another. The focus pullers can operate in the same way on any of the Optimo Primes, which means fewer soft focus shots.

In addition, all twelve Optimo Primes have the same gear positions. This means that the lenses can be exchanged quickly without having to move the external lens motors.

The Optimo Primes from Angénieux are available with the PL camera mount system. They can be used on professional film quality cameras such as the Sony Venice and the RED MONSTRO.

The integrated optical palette of the Optimo Primes is a three-piece replaceable system: the variable iris blade, the replaceable inner filter and the replaceable rear filter.

The union of replaceable iris blades allows users to design the bokeh by hand. Optimo Primes are sold with a nine-blade iris, but can be substituted with other shapes from Angénieux. For example, customers can purchase a three-bladed iris shape from Angénieux, which can be installed to achieve triangular bokeh. Or, some users choose to mimic anamorphic with a six-bladed iris, which could be installed on the integrated Optical Palette.

Users can install branded filters, such as Tiffen's Black Pro Mist, to experiment with the image as they would with a traditional matte box filter. Transparent filters can be purchased for cinematographers to modify and hand design their own unique image look. And because the Integrated Optical Palette is standard among Optimo Primes, these filters can be interchanged between different Optimo lenses.

Customizing filters to experiment with light can be more interesting near the iris. This is why an additional layer of manipulation is possible with the rear filter of the Integrated Optical Palette.

The Optimo Primes feature a system of external markings that indicate the internal elements. By marking the red squares, users can keep their Integrated Optical Palettes organised

Although an optics technician is recommended, Angénieux sells an optional tool kit to disassemble and customise the Integrated Optical Palette. It only takes 15 minutes to get into the IOP system, which means that cinematographers can customise their internal filters right up until the day of production. If a technician is going to disassemble a lens, it should be done in a space free of dust, dirt and debris, such as a lens facility or rental house.

Following customer feedback on the Angenieux zoom lenses in the Optimo series, Angenieux has added a metadata system.

This software developed by Cooke is called /i Technology. It allows film and digital cameras to automatically record key lens and camera data for each frame shot with Optimo Primes. This metadata can be seamlessly integrated into the post-production workflow, saving a lot of time and money in editing. Effects-intensive productions especially benefit from the Cooke /i Tech technology, which also records information critical to the special effects process, such as focal length and T-Stop. The metadata system is also combined with the ability to provide inertial tracking and shading data, which visual effects teams use for matchmoving and 3D tracking.

Lens flare is relatively controlled in these state-of-the-art cinema lenses. Some users may notice that flares are more frequent on the longer lenses. In addition to their controlled flare, Optimo Primes have great distortion control.

However, Optimo Primes spherical lenses have a large amount of breathing, which may be a no-go for some cinematographers. Breathing is distortion caused by focus shift, which will affect different shooting styles.