Angenieux 24-290 zoom lens with constant T2.8 aperture, 19-element design, and optical stabilization for cinema cameras.
The lens features a 19-element, 14-group construction, utilizing aspherical elements to minimize aberrations. It has a front diameter of 136mm with an M127x1 filter thread. The close-focus distance is 1.5m across the entire zoom range. The lens is equipped with standardized 0.8 pitch gears for follow-focus systems and offers PL and LPL mount variants. Optical stabilization (Optimo Style) reduces vibration by up to 2.5 stops.
Angenieux introduced the 24-290 in 2018 as an evolution of their proven Optimo series. Development took four years, aiming to achieve the extreme zoom range without compromising optical quality. The LPL mount version for large-format sensors followed in 2020. The lens builds upon Angenieux's 100 years of experience in manufacturing broadcast and cinema optics.
Cinematography teams appreciate the 24-290 for documentaries and event coverage where lens changes are impossible or impractical. In "1917" (2019), the extreme zoom range enabled seamless transitions between wide shots and close-ups within the long, continuous takes. Wildlife documentaries utilize the combination of wide-angle and extreme telephoto focal lengths for undisturbed animal shots. The constant T2.8 aperture significantly simplifies exposure control during zooms.
Competing zoom lenses like the Canon CN20x50 achieve higher zoom factors but do not cover the wide-angle range. The Fujinon 18-85 offers a more practical zoom range for standard productions at a significantly lower weight (2.9 kg). For maximum image quality, prime lenses such as the Angenieux Optimo Prime series remain superior but require frequent lens changes. The 24-290 positions itself as a compromise between flexibility and optical performance for demanding single-lens productions.
Als DoP nutze ich das 24-290 hauptsächlich für Dokumentararbeiten, wo ich zwischen extremen Brennweiten wechseln muss, ohne das Set zu stören. Die konstante T2.8-Blende ist goldwert für gleichmäßige Belichtung, aber das Gewicht von 7,8 kg erfordert zwingend robuste Stative und macht Handheld-Arbeit zur Tortur.
Ich setze das 24-290 ein, wenn ich innerhalb einer Szene dramatische Perspektivwechsel brauche – von der intimen Close-up bis zur epischen Totale ohne Cut. Bei Interviews kann ich nahtlos zwischen verschiedenen Einstellungsgrößen wechseln und so den emotionalen Rhythmus der Erzählung steuern, ohne die Gesprächsatmosphäre durch Objektivwechsel zu zerstören.
Das 24-290 kostet etwa 45.000 Euro, rechtfertigt sich aber durch massiv reduzierte Drehzeiten, da Objektivwechsel entfallen. Für Dokumentationen spare ich mindestens 20% Produktionszeit, muss aber höhere Transportkosten und robusteres Equipment für das Gewicht einkalkulieren.
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