Next generation camera with forward thinking full frame sensor, phenomenal color science and user-friendly operation Simple and intuitive Usability and reliability of the camera is one of the major concerns for operators, especially in tough or time-critical filming conditions. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, VENICE lets you simply concentrate on filming, and not the camera. Full-Frame sensor for cinema VENICE features an all-new Full-Frame sensor with the classic 36 x 24-mm dimensions that have been a staple of photography for over 100 years. Designed exclusively for high-end cinematography, this sensor can capture images up to a maximum resolution of 6048 x 4032. Switchable imager modes mean VENICE can support an unprecedented number of cinematic aspect ratios for complete creative freedom: Full width 36 mm 6K In full-frame, you can use the full 6048 pixel width of the sensor for 6K imager modes such as 3:2, 2.39:1*, 1.85:1, 17:9, and 16.9*. Equivalent to 4-perforation motion picture film, these 6K modes allow for extra-shallow depth of field, super-wide shooting, and other creative effects. Super35 anamorphic 4K For super-wide screen productions, VENICE offers two full-height 2x squeeze anamorphic imager modes that include 6:5 and 4:3 recording modes for 12:5 (known as 2.39:1) and 8:3 (2.66:1) scenes, respectively. Explore how VENICE can meet your production requirements with the firmware and licensing requirements in the aspect ratio chart: Fast shutter VENICE’s high-speed readout sensor minimizes the jello effect typical in CMOS sensors. Phenomenal latitude VENICE has an exceptional 15+ stops of latitude, with low noise for extraordinary performance in delivering phenomenal images in conditions from searing sunlight to almost no light. VENICE’s real-world performance also excels at High Dynamic Range imaging and allows unprecedented creative freedom in grading. More colors for more expression VENICE can exceed Rec. 2020 color space. This means the color range is wider than DCI-P3 and can beautifully reproduce the true color of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3) and ultra-wide color space. More colors for more expression VENICE can exceed Rec. 2020 color space. This means the color range is wider than DCI-P3 and can beautifully reproduce the true color of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3) and ultra-wide color space. Dual Base ISO VENICE has a base ISO of 500 to provide the optimal dynamic range for typical cinematography applications with on-set lighting. A secondary High Base ISO of 2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15 stops. High Base ISO 2500 is ideal whenever you’re using slow lenses or shooting dimly-lit environments. Combining ISO2500 with VENICE’s internal eight-step Optical ND filter system offers the ability to emulate different ISOs while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera. World’s first 8-step mechanical ND Filters VENICE is the world’s first camera of its class with a servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing. Next generation viewfinder The DVF-EL200 was created as the perfect partner for VENICE. A 1920 x 1080 OLED panel enables precise, high-resolution focusing and framing, including False Color Display at the touch of a button. A rotary encoder provides instant access to brightness, peaking and contrast. An all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. The industry-standard LEMO connector offers exceptional durability. Engineered to survive VENICE’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions. Its ventilation system is completely isolated from all electronic components to prevent ingress of dust, sand and splash. The silent-running fan can be cleaned or even swapped out on set quickly and easily. Easily configurable VENICE has a fully modular design and even the sensor block is interchangeable. So, as sensor technology advances in far future, you have the opportunity to upgrade without investing in a new camera. In order to maintain ergonomic balance for operators, the top handle and viewfinder are easily adjustable. As the height of the camera from the bottom to the optical center of the lens mount is the same as the F55, base plates and other accessories used for the F55 can be used with VENICE. The AXS-R7 recorder can be attached to VENICE with just four screws. Additional features of the Venice camera: native PL- and E-mount (Lever lock type) anamorphic aspect ratios of 4:3 and 6:5 at 4K for shooting both 2.4:1 and 2.66:1 widescreen desqeeze function on monitor out for several anamorphic squeeze factors up to 16bit of tonal range when recording in RAW or X-OCN (16-bit eXtended tonal range Original Camera Negative) file formats downsampling from Full Frame Image with 6K resulution to 4K XAVC codec parallel recording of Proxy Files or XAVC on SxS cards while recording 6K (RAW or X-OCN) on AXS cards the Select FPS function lets you choose frame rates from 1 frame per second to as high as 120 fps, depending on imager mode. *Note: higher Framerates than 60fps require the HFR License available from summer 2019 several control tools for checking aperture an focus such as: up to 4.0x Dot-by-Dot magnification of the viewfinder image, Surround View (Look Around), High/Low Key, USER 3D LUTs, ACES compatibility Full menu control via web browser based wired and wireless connection and much more... More information about the Sony VENICE can be found at www.sonycine.com Download Technicolor Look Collection for VENICE here.
IB/E Optics Raptor T2.9 100mm Cine Macro Lens - UMS PL Mount The RAPTOR lenses featuring full frame (24×36) coverage and beyond, 1:1 magnification, T-Stop 2.9 as well as robust and durable professional cine mechanics. Features: Maximum magnification 1:1 No change in length, thanks to internal focusing extended color correction (APO) Aperture T 2.9-T22 Constistent distance from flange to iris- and focusring Front diameter of 95 mm M0.8 gear wheels for focus and iris UMS PL Mount (LPL, Canon EF, Sony NEX E,...) Robust and durable mechanical design Data sheet downloadAPO CINE MACRO LENS FAMILY
IB/E Optics Raptor T2.9 60mm APO Cine Macro VV Lens - UMS PL Mount All RAPTOR lenses featuring full frame (24x36) coverage and beyond, 1:1 magnification, max T-Stop 2.9 as well as robust and durable professional cine mechanics. Features: Maximum magnification 1:1 No change in length, thanks to internal focusing extended color correction (APO) Constistent distance from flange to iris- and focusring Front diameter of 95 mm M0.8 gear wheels for focus and iris UMS PL Mount (LPL, Canon EF, Sony NEX E, …) Robust and durable mechanical design Data sheet downloadAPO CINE MACRO LENS FAMILY
IB/E Optics Raptor T2.9 150mm Cine Macro Lens - UMS PL Mount The RAPTOR lenses featuring full frame (24×36) coverage and beyond, 1:1 magnification, T-Stop 2.9 as well as robust and durable professional cine mechanics. Features: Maximum magnification 1:1 No change in length, thanks to internal focusing extended color correction (APO) Aperture T 2.9-T22 Constistent distance from flange to iris- and focusring Front diameter of 95 mm M0.8 gear wheels for focus and iris UMS PL Mount (LPL, Canon EF, Sony NEX E,...) Robust and durable mechanical design Data sheet downloadAPO CINE MACRO LENS FAMILY
The M full frame lenses have captured unique, iconic images for over than 60 years around the world. To bring the characteristics of these lenses directly to the cinema world, Leitz Cine Wetzlar designed the new M 0.8 lenses. The complete set contains focals of 21mm, 24mm, 28mm, 35mm, 50mm, 50-N, 75mm and 90mm. The M 0.8 lenses interpret light and skin tones with a unique sense of clarity, color and charisma. FEATURES Focal Length: 35 mm Max. Aperture: f/1.4 Format: Full Frame (24mm x 36mm) Mount: Leica M-Mount Front Diameter: 80mm Weight: 380g CAMERA COMPATIBILITY Sony VENICE ARRI Alexa Mini/Amira RED Monstro and more - see comparative table:
Second generation of Optimo lightweight lenses, the Optimo Ultra compact lenses replace the famous academy awarded Optimo 15-40 and 28-76 lenses which have been the faithful companions of Directors of Photography for more than 15 years. This new generation of high-end lenses is fully designed for the FF/VV format. Lightweight and compact, these lenses are among the lightest on the market. Thought for users, these lenses are the perfect addition to the Angénieux high-end Full Frame collection which already included the Optimo Ultra 12X and the Optimo Prime Series. They will seduce by their ergonomics, their Optimo optical quality including the Angénieux look and their high-precision mechanics. The major characteristics of the Optimo Ultra compact lenses which integrate high-tech optical and mechanical components are listed below. SPECIFICATIONS - Preliminary Full-Frame version only Focal Length (mm): 21-56 T-Stop: 2,9 Close Focus: 600mm/2ft Internal Focus: Yes Image Circle Coverage: 46,3mm Front Diameter: 114mm Iris full closure: Yes Metadata: Yes Horizontal angular field of view: TBC Object dimensions at MOD (mm): TBC Weight: TBC Length: TBC NEW OPTICAL DESIGN Completely new optical design to enable Full Frame Coverage Superb image quality from T2,9 (in FF/VV) open aperture Perfect homogeneity of color, contrast and resolution. Low distortion No ramping, minimal breathing, very fast for 2.7x zoom ratios Close focus of 2ft / 0.6m enables extreme close-up shots Internal focus, internal zoom, constant lens volume NEW MECHANICAL DESIGN Completely newly designed mechanics vs. Optimo 15-40 & 28-76 Compact (235mm) and very lightweight (2,6kg / 6lbs) Precise and rugged travelling of the zoom and focus groups using Angenieux classic rod mechanical guiding system Precise and ergonomic focus ring with scale rotation of 310°, user-optimized marking design User changeable focus marking rings (focusing scales available in feet or metric) Adapted to extreme shooting environments (passive athermalization from -20°C to +45°C) Available in PL mount. Front protective glass (as an accessory) Can be used with with ARRI FF4 & FF5 Follow-Focus, please use ARRI FF Gear 0.8 Module, 43 Tooth, 45mm K2.0020752 MULTIPLE IMAGE FORMAT DESIGN IRO ready Optimo Ultra Compact FF/VV Only for the time being /i Cooke Metadata : External connector for metadata transfer to an external drive or a display unit
Take your Smart 7 Monitor to the next level with intuitive camera-control software. This kit includes a software license download card and control cables that enable real-time configuration of RED® RCP2™ Cameras (KOMODO®, DSMC3™). Quickly access essential RED camera settings with intuitive, user-friendly controls on the Cine 7, 702 Touch, and Indie 7 monitors from SmallHD.Special Note: If you already own Komodo Control, unlock the expanded RCP2 Control by downloading the latest firmware for your monitor at https://downloads.smallhd.com.Disclaimer: Once any camera control is registered in your SmallHD monitor, it can not be removed or transferred to a different monitor. In the Box: RED Camera Control for RED RCP2 Software - KOMODO, DSMC3 (#18-1007) RED Ext 9pin to SmallHD 5pin USB Camera Control Cable 18in/45cm (#17-4305) Micro USB to 5pin Lemo Adapter (#ACC-C7T-USB-ADP)RED CTRL 4pin to SmallHD 5pin USB Cable (#CBL-CNTRL-RED-CTRL-18)
Take your Cine 5, Ultra 5, Ultra 7 or Ultra 10 to the next level with intuitive camera-control software. This kit includes a software license download card and control cables that enable real-time configuration of RED® DSMC2™ cameras. Quickly access essential RED camera settings with intuitive, user-friendly controls on the Cine 5, Ultra 5 or Ultra 7 monitors from SmallHD.Disclaimer: Once any camera control is registered in your SmallHD monitor, it can not be removed or transferred to a different monitor FEATURES of the Sofware Quickly access essential RED DSMC2 camera settings with intuitive, user friendly controls In the Box: RED CTRL 4pin to SmallHD 5pin USB Cable (#CBL-CNTRL-RED-CNTRL-18)Camera Control (Software only)
Take your Ultra 5, Ultra 7, Ultra 10, or Cine 7 to the next level with intuitive camera-control software. This kit includes a software-license download card and control cables that enable real-time configuration of the Sony BURANO, FX6, VENICE, AND VENICE 2. Quickly access essential SONY camera settings with intuitive, user-friendly controls on the Ultra 5, Ultra 7 Ultra 10, or Cine 7 monitors from SmallHD. Camera Control Access:Start/Stop Record, ND Filter Selection, FPS, Shutter Speed, ISO, Color Temperature/White Balance, Partial LUT Configuration, Clip Playback Non-Interactive Camera Information:Timecode, Media Status, FPS, Resolution, Battery Info, Recording Format Disclaimer: Once any camera control is registered in your SmallHD monitor, it can not be removed or transferred to a different monitor*Users need to source their own USB-C to Ethernet adapter In the Box: Camera Control for Sony Software Only (#18-1002) Slim Ethernet Cable (#CBL-ETH-36)
Take your Cine 5, Ultra 5, Ultra 7 or Ultra 10 monitor to the next level with intuitive camera-control software. This kit includes a software-license download card and control cables that enable real-time configuration of RED® RCP2™ Cameras (KOMODO-X, KOMODO®, DSMC3™). Quickly access essential RED camera settings with intuitive, user-friendly controls on the Cine 5, Ultra 5 or Ultra 7 monitors from SmallHD.Disclaimer: Once any camera control is registered in your SmallHD monitor, it can not be removed or transferred to a different monitor In the Box: Camera Control for RED RCP2 Software (KOMODO-X, KOMODO, DSMC3) RED EXT 9pin to SmallHD 5pin USB Camera Control Cable 18in/45cm (#17-4305)RED CTRL 4pin to SmallHD 5pin USB Cable (#CBL-CNTRL-RED-CTRL-18)
ake your Ultra 5, Ultra 7, Ultra 10 or Cine 7 to the next level with intuitive camera-control software. This kit includes a software-license download card and control cables that enable real-time configuration of Alexa Cinema Cameras, including the ALEXA 35. Quickly access essential ARRI camera settings with intuitive, user-friendly controls on the Ultra 5, Ultra 7 or Cine 7 monitors from SmallHD. Camera Control Access:RecordStart, RecordStop, Playback Control, Set & Read TC, Set & Read Project Rate, Read & Set System Date/Time, Read Clip List from Medium, Camera Type, Camera Serial, Camera State, Look Filename, Color Temperature, Tint Variable, Exposure Index, Sensor FPS List, Sensor FPS, Shutter Angle List, Shutter Angle, Exposure Time List, Exposure Time, Exposure Index List, ND Filter List, ND Filter, White, Balance List, Media Status, Recording Mode, Clip Scene, Clip Take, Medium Type, Model, Name, Serial Number, Clip Count, Current Reel, Medium Size, Medium Status, Write Protection, Clip, Count, Current Reel, Free Capacity, Clip Filename, Clip UUID, Clip Project Rate, Clip Start TC, Clip Duration TC Disclaimer: Once any camera control is registered in your SmallHD monitor, it can not be removed or transferred to a different monitor. In the Box: Camera Control for ARRI Software (#SW-ARRI-CONTROL) Locking 10pin ARRI ALEXA (m) to Ethernet (m) Camera Control Cable 36"/90cm (17-4311) ARRI Alexa Cable Control Cable -right angle (#CBL-ETH-ARRI-R-ANGLE-39in/1m) 5pin to Ethernet Adapter (17-4306)
Angénieux 18mm Optimo Prime FThe Optimo Prime 18mm T2 Lens from Angenieux is a PL-mount lens that features a fast T2 maximum aperture, a replaceable iris blade unit, 320° focus rotation, and user-configurable bokeh. It shares a matching color profile with the entire Optimo range including the Optimo zoom lenses. Each lens in the series also features nonlinear zoom and iris, internal glass optical elements, and a rear filter option. All the Optimo Prime lenses have a 95mm front diameter (except the 200mm), making it easy to swap lenses without changing your focus motor or matte box setups.The Optimo Prime series is part of Angénieux’s latest high-end lens collection and is ideal for demanding productions requiring native cinema design. 70 years after the first Angénieux prime series, the Optimo Prime Series is the result of decades of proven experience and know-how in high precision optics and mechanics. Each lens in the 12 piece series (from 18mm to 200mm) was designed to be incredibly compact and lightweight, most of them at a fast T1.8, with Optimo-class mechanics and feel that embodies the legendary Angénieux look. Based on cinematographer feedback, the series provides meta data (Cooke-I, LDS) and unique user-features such as replaceable iris blade unit, internal glass optical element and rear filter. Three types of sets are available for sale depending on budget and applications: Platinum set with 12 lenses (18,21,24,28,32,40,50,60,75,100,135 and 200 mm), Gold set with 9 lenses (18,21,28,32,40,50,75,100 and 135 mm) and Silver set with 6 lenses (21,28,40,50,75 and 135mm) A totally genuine cinema design based on Directors of Photography recommendations Several Series in One with customizable lenses (interchangeable iris, internal glass element, rear filter) to express your own creativity Optimo performances associated with a very high optical and mechanical quality, Famous Angénieux look & perfect match with the new Optimo Ultra 12X Main featuresBased on cinematographer feedback, Optimo primes also provide meta data (Cooke-i, LDS) and unique user-features such as: replaceable iris blade unit, user-configurable for bokeh (including anamorphic effect) filters to change optical properties, MTF, CCI, etc. high-end cinema functionality: constant volume, non-linear iris (as for Optimo Zoom range), non-linear focus (as for Optimo Zoom range), with 320° focus rotation angle, possibility to go ‘beyond’ infinity and close focus, identical colorimetry across the range, matched to OPTIMO Zooms, round bokeh across image plane front diameter 95mm for all except the F200 which is 114mm Specifications Max T-Stop: 2 Minimum Object Distance: 1’2” Front Diameter (inches/mm): 3,74/95 Image Circle: 1,8/46.31 Reference (feet/meters): 324783/324887 Length(inches/mm) From PL Mount: 6.30/160 Horizontal FOV: 97.0° Vertical FOV: 65.0° Weight kg/lbs: <1.9/4.2 Focus Barrel Rotation MOD to Infinity: 320° Focus Barrel Rotation end stop to end stop: 300° Iris Barrel Rotation: 75° ______________________________________________________________________________________ SILVER, GOLD OR PLATINUM SET - JUST MAKE YOUR CHOICE PLATINUM SET (12 lenses): 18, 21, 24, 28, 32, 40, 50, 75, 100, 135, 200mm GOLD SET (9 lenses): 18, 21, 28, 32, 40, 50, 75, 100, 135mm SILVER SET (6 lenses): 21, 28, 40, 50, 75, 135mm ______________________________________________________________________________________ Angenieux Optimo Prime Series with IOP - Intergrate Optical Pallette. This Video shows the unique features of the Optimo Prime lenses: the interchangeable internal glass element & interchangeable iris.
Angénieux 200mm Optimo Prime F The Optimo Prime 200mm T2.2 lens from Angenieux is a PL-mount lens that features a fast T2.2 maximum aperture, a replaceable iris blade unit, 320° focus rotation, and user-configurable bokeh. It shares a matching color profile with the entire Optimo range, including the Optimo zoom lenses. Each lens in the series also features nonlinear zoom and iris, internal glass optical elements, and a rear filter option. Except for this 200mm with a 114mm front, all the Optimo Prime lenses have a 95mm front diameter, making it easy to swap lenses without changing your focus motor or matte box setups.The Optimo Prime series is part of Angénieux’s latest high-end lens collection and is ideal for demanding productions requiring native cinema design. 70 years after the first Angénieux prime series, the Optimo Prime Series is the result of decades of proven experience and know-how in high precision optics and mechanics. Each lens in the 12 piece series (from 18mm to 200mm) was designed to be incredibly compact and lightweight, most of them at a fast T1.8, with Optimo-class mechanics and feel that embodies the legendary Angénieux look. Based on cinematographer feedback, the series provides meta data (Cooke-I, LDS) and unique user-features such as replaceable iris blade unit, internal glass optical element and rear filter. Three types of sets are available for sale depending on budget and applications: Platinum set with 12 lenses (18,21,24,28,32,40,50,60,75,100,135 and 200 mm), Gold set with 9 lenses (18,21,28,32,40,50,75,100 and 135 mm) and Silver set with 6 lenses (21,28,40,50,75 and 135mm) A totally genuine cinema design based on Directors of Photography recommendations Several Series in One with customizable lenses (interchangeable iris, internal glass element, rear filter) to express your own creativity Optimo performances associated with a very high optical and mechanical quality, Famous Angénieux look & perfect match with the new Optimo Ultra 12X, Main featuresBased on cinematographer feedback, Optimo primes also provide meta data (Cooke-i, LDS) and unique user-features such as: replaceable iris blade unit, user-configurable for bokeh (including anamorphic effect) filters to change optical properties, MTF, CCI, etc. high-end cinema functionality: constant volume, non-linear iris (as for Optimo Zoom range), non-linear focus (as for Optimo Zoom range), with 320° focus rotation angle, possibility to go ‘beyond’ infinity and close focus, identical colorimetry across the range, matched to OPTIMO Zooms, round bokeh across image plane front diameter 95mm for all except the F200 which is 114mm Specifications Max T-Stop: 2.4 Minimum Object Distance: 4′ Front Diameter (inches/mm): 4,50/114 Image Circle: 1,8/46.31 Reference (feet/meters): 324785/324889 Length(inches/mm) From PL Mount: 7.48/190 Horizontal FOV: 11.5° Vertical FOV: 6.5° Weight kg/lbs: <2.3/5.07 Focus Barrel Rotation MOD to Infinity: 320° Focus Barrel Rotation end stop to end stop: 300° Iris Barrel Rotation: 75° ______________________________________________________________________________________ SILVER, GOLD OR PLATINUM SET - JUST MAKE YOUR CHOICE PLATINUM SET (12 lenses): 18, 21, 24, 28, 32, 40, 50, 75, 100, 135, 200mm GOLD SET (9 lenses): 18, 21, 28, 32, 40, 50, 75, 100, 135mm SILVER SET (6 lenses): 21, 28, 40, 50, 75, 135mm ______________________________________________________________________________________ Angenieux Optimo Prime Series with IOP - Intergrate Optical Pallette. This Video shows the unique features of the Optimo Prime lenses: the interchangeable internal glass element & interchangeable iris.
The Angénieux Type EZ-1 Pack is a versatile, high-performance zoom lens designed for professional filmmakers seeking flexibility without compromising on image quality. Engineered for both Super 35mm and Full Frame/VistaVision cameras, this lens features an innovative modular design that allows users to switch between two focal lengths and formats with ease. In its standard configuration, the lens delivers a 30-90mm focal length with an impressive aperture of F1.9 (T2) for S35mm. By simply exchanging the rear optical group, it transforms into a 45-135mm F2.8 (T3) lens suitable for Full Frame/VistaVision sensors, covering up to a 46mm image diagonal. Created to bridge the gap between traditional still-photography zooms and the high-end cinema lenses of the Optimo line, the EZ-1 offers exceptional optical performance in a lightweight and compact form factor. Whether used for documentaries, commercials, or narrative film productions, the EZ-1 delivers cinematic image quality with smooth mechanics, consistent colorimetry, and minimal breathing—making it a top choice for demanding production environments. Features – Angénieux Type EZ-1 Pack (S35mm and FF) Interchangeable Rear Optics (IRO) technology for S35 and FF formats Covers 30-90mm F1.9/T2 in S35 and 45-135mm F2.8/T3 in FF/VistaVision Fast aperture for shallow depth of field and low-light performance Compact and lightweight design ideal for handheld and gimbal use Maintains focus and color consistency across focal range Industry-standard 114mm front diameter 3x zoom ratio for maximum flexibility on set Minimal focus breathing and smooth, precise zoom mechanics Technical Specifications Focal Length: 30-90mm (S35) / 45-135mm (FF/VistaVision) Aperture: F1.9 (T2) in S35 / F2.8 (T3) in FF Zoom Ratio: 3x Image Coverage: up to 30mm diagonal (S35) / up to 46mm diagonal (FF) Lens Mount: PL mount (interchangeable with optional accessories) Focus Rotation: ~300° for precise focusing Color Matching: Matches Angénieux Optimo and Optimo Style lenses Dimensions & Weight Length (S35 configuration): approx. 226 mm Length (FF configuration): approx. 248 mm Weight: approx. 2.15 kg Front Diameter: 114 mm Filter Thread: None (requires matte box) In the Box Angénieux Type EZ-1 30-90mm (S35mm configuration) Rear Optical Group for Full Frame/VistaVision (45-135mm T3) Front and Rear Lens Caps Lens Support Bracket Hard Case with Custom Foam Interior User Manual
The Angénieux Type EZ-2 Pack (S35mm and FF) 15-40mm F1.9/T2 is a high-performance wide zoom lens designed for professional cinematographers seeking ultimate flexibility across formats. Developed to bridge the gap between traditional still photography zooms and the elite Optimo series, the EZ-2 brings the trusted Angénieux quality to a more accessible level without compromising optical excellence. Thanks to its innovative IRO technology (Interchangeable Rear Optics), the lens can be easily converted from Super 35mm (15-40mm F1.9/T2) to Full Frame / VistaVision (22-60mm F2.8/T3) by swapping the rear lens group. This unique modularity ensures long-term versatility and future-proofing for evolving camera standards, covering image circles up to 46mm. With a zoom ratio of 2.7x, constant aperture, and a fast, cinematic T-stop, the EZ-2 excels in both narrative and commercial productions. Lightweight yet robust, it offers a perfect balance for handheld and gimbal work, delivering creamy bokeh, edge-to-edge sharpness, and minimal distortion in any configuration. Features – Angénieux Type EZ-2 Pack (S35mm and FF) 14-40mm F1.9/T2 Dual-format lens for S35 and FF/VistaVision cameras Modular IRO design for format conversion 2.7x zoom ratio for flexible framing Constant fast aperture: T2 (S35) / T3 (FF) Covers image circles up to 46mm Angénieux signature color rendering and contrast Lightweight design ideal for handheld, gimbal, or Steadicam use Compatible with standard 114mm matte boxes Technical Specifications Focal Length: 15-40mm (S35) / 22-60mm (FF/VistaVision) Aperture: f/1.9 – T2 (S35) / f/2.8 – T3 (FF) Zoom Factor: 2.7x Format Coverage: S35 up to 30mm diagonal / FF up to 46mm diagonal Mount Type: PL Mount (Interchangeable with optional mounts) Focus Rotation: 300° Filter Thread: None – Front Diameter 114mm Minimum Focus Distance: ~2 ft (0.6m) Dimensions & Weight Length: Approx. 226 mm (8.9 in) Weight: Approx. 2.12 kg (4.67 lbs) Front Diameter: 114 mm Lens Mount: PL (Interchangeable) In the Box Angénieux Type EZ-2 Lens S35mm Rear Optical Group (pre-installed) FF/VistaVision Rear Optical Group Lens Support Bracket Front and Rear Lens Caps Protective Lens Case User Manual & Warranty Card