ZEISS Panoptes 65: New Large-Format Lenses Target Alexa 65 and URSA Cine 17K

By BlockReel Editorial Team Cinematography
ZEISS Panoptes 65: New Large-Format Lenses Target Alexa 65 and URSA Cine 17K

ZEISS Panoptes 65: New Large-Format Lenses Target Alexa 65 and URSA Cine 17K

The large-format landscape is continually evolving, and ZEISS just dropped another entry into the conversation. They've announced the Panoptes 65, a new set of cinema lenses designed to accommodate the expansive sensor real estate of cameras like the ARRI Alexa 265 and Alexa 65, as well as the Blackmagic URSA Cine 17K 65. If you're working in high-end feature or commercial production, optics for these massive sensors are always a critical topic, and ZEISS is clearly trying to stake a claim.

Modern full-frame lenses from ZEISS are cited as the inspiration behind the Panoptes 65's design. That's a telling detail. It suggests a certain aesthetic continuity, a known quantity for DPs familiar with their other offerings. When you're dealing with the scale and resolution of these larger formats, the characteristics of your glass become even more pronounced. Every aberration, every subtle quality is magnified.

This isn't about simply projecting a bigger circle; it's about projecting a bigger circle with precision and character that matches the demands of these high-resolution sensors. Large format isn't just about increased field of view; it's about the depth characteristics, the fall-off, and the way light resolves across a larger area. The right lens design becomes paramount for truly harnessing that scale.

The Panoptes 65 Lineup

The Panoptes 65 series will offer a comprehensive set of 10 focal lengths, all rated at T2.2. This consistency in maximum aperture across the range is a practical consideration for cinematographers. You don't want to be constantly adjusting lighting or camera settings when swapping lenses on a busy set.

The focal lengths include:

- 25mm T2.2

  • 35mm T2.2
  • 40mm T2.2
  • 45mm T2.2
  • 55mm T2.2
  • 70mm T2.2
  • 90mm T2.2
  • 110mm T2.2
  • 135mm T2.2
  • 180mm T2.2

    That's a robust set, covering everything from fairly wide angles to longer portrait and telephoto options. A T2.2 aperture also offers a good balance. While not ultra-fast, it's certainly capable in a lot of practical lighting scenarios, and it typically allows for a more compact and optically consistent design than much faster lenses. The sheer amount of glass required to cover these large sensors at very wide apertures can quickly become unwieldy and introduce significant optical compromises.

    For productions already committed to the large-format ecosystem (and let's be honest, that usually means a serious budget), having a dedicated lens set from a manufacturer like ZEISS is a significant development. It means purpose-built optics, not just rehoused stills lenses or adaptations, which can sometimes come with their own set of quirks.

    As for availability, ZEISS plans to start shipping the Panoptes 65 lenses in the northern hemisphere summer this year. Pricing details, however, have not yet been released. Given the target cameras and ZEISS's market position, one can anticipate these will be a significant investment, likely falling into the higher tiers of professional rental and purchase options.

    Contextualizing with Aatma

    The Panoptes 65 isn't ZEISS's only recent foray into large-format glass. These new lenses will join the recently announced Aatma cine primes in the ZEISS lineup. The ZEISS Aatma Prime T1.5 Cine Lenses: Crafting Immersive Cinematic Imagery for Full-Frame Production are a separate, but related, development. This broader push suggests ZEISS is responding aggressively to the industry's continued adoption of larger sensors.

    The Aatma Prime series, for instance, consists of nine focal lengths, all at a faster T1.5 aperture. ZEISS states that the Aatma lenses are designed to "balance character-rich rendering with technical precision." The name "Aatma" is derived from Sanskrit, meaning "innermost essence," "self," or "soul", which certainly speaks to a desired aesthetic quality beyond mere technical perfection.

    Key features listed for the Aatma primes include:

    - Large Format support

  • T1.5 maximum aperture
  • Soft skin textures, reduced contrast
  • 0.8 MOD focus and iris gears (standard for cine lenses)
  • ZEISS eXtended Data Technology
  • 114mm front outside diameter (common for matte boxes)
  • CinCraft Tracking Integration
  • Clean geometry for VFX capture
  • Enlarged depth of field, veiled glare (it’s intentional stylized design, not an error)
  • Distinct bokeh, "soap bubble" effect

    The Aatma focal lengths are:

    - 18mm T1.5

  • 25mm T1.5
  • 35mm T1.5
  • 40mm T1.5
  • 50mm T1.5
  • 65mm T1.5
  • 85mm T1.5
  • 100mm T1.5
  • 135mm T1.5

    Comparing the Panoptes 65 (T2.2) and Aatma (T1.5) offerings, it's clear ZEISS is approaching the large-format space with two distinct strategies. The Aatma primes lean into a faster, perhaps more stylized rendering with specific "character-rich" elements like "soft skin textures" and a "soap bubble bokeh." They are likely aimed at projects where a distinct, more classic, or even vintage-inspired optical signature is desired, but with modern mechanics.

    The Panoptes 65, inspired by "modern full-frame lenses" and T2.2, might be a more technically neutral, high-resolution solution. "Modern full-frame lenses" from ZEISS often implies a clean, sharp, and consistent image that, while not clinical, might offer less overt "character" than the Aatma line. This distinction could be crucial for DPs who need different aesthetic starting points. Some prioritize absolute resolution and controlled rendering to build their look in post, while others are chasing a more inherent "filmic" quality from the glass itself. It's a perennial debate in lens design, and ZEISS appears to be offering options on both sides.

    Both lens lines, however, do share the integration of ZEISS eXtended Data technology. This is a significant advantage for modern workflows, particularly those involving visual effects or virtual production. eXtended Data provides metadata about focus distance, aperture, and lens distortion characteristics. This information is invaluable for:

    - VFX Integration: Accurate lens data simplifies the digital compositing process by providing precise details about how the real-world image was captured. This helps VFX artists recreate virtual elements that perfectly match the optical characteristics of the recorded footage.

  • Virtual Production: In LED volume stages, precise lens parameters are crucial for rendering the background environment with correct perspective and depth relative to the camera's position and focal length.
  • Post-Production Adjustments: Knowing the exact distortion profile of a lens allows for more precise corrections or even the creative application of specific lens characteristics in post.

    This forward-thinking integration demonstrates that ZEISS understands the evolving demands of high-end production beyond just resolving power. It's about providing tools that integrate seamlessly into complex digital workflows.

    Large Format: The Ongoing Push

    The mention of the Alexa 265, Alexa 65, and Blackmagic URSA Cine 17K 65 highlights a growing trend that shows no signs of slowing down: the expansion of sensor size.

    - ARRI Alexa 65: This camera has been a staple in high-end productions for years, renowned for its massive sensor and incredibly filmic look. It's a workhorse for many tentpole features and premium series. Its sensor size (54.12mm x 25.59mm, larger than IMAX film) requires optics with an immense image circle.

  • ARRI Alexa 265: This camera is a compact, lightweight 65mm digital cinema camera announced in December 2024. It utilizes a revised 6.5K sensor in a body similar to the ALEXA 35, offering 15 stops of dynamic range, improved low-light performance, and REVEAL Color Science.
  • Blackmagic URSA Cine 17K 65: This is a formidable entry, boasting a 17K sensor and a 65mm format. Capturing that level of detail on such a large canvas demands lenses that can keep up without introducing unacceptable compromises. The practical implications of wrangling that much data are considerable, but the potential for unparalleled resolution and image quality is clear.

    For cinematographers, the choice of lens for large format often boils down to a few key considerations:

    - Image Circle: Does the lens cover the full sensor without vignetting or excessive light fall-off? This is fundamental.

  • Resolved Resolution: Can the lens actually resolve the detail that these high-megapixel sensors are capable of capturing? A soft lens on a 17K sensor is just missing the point.
  • Optical Characteristics: What's the rendition like wide open? How does it handle flare? What's the bokeh texture? Are there any chromatic aberrations? These subjective qualities are often as important as raw sharpness.
  • Mechanical Build: Will the lens hold up to the rigors of production? Is the focus throw precise and consistent? Is it parfocal? (While not explicitly mentioned, these are standard expectations for modern cine primes).
  • Metadata Integration: As noted with eXtended Data, the ability to seamlessly integrate with digital workflows is increasingly important.

    The Panoptes 65's inspiration from "modern full-frame lenses" by ZEISS suggests an emphasis on clean, consistent optical performance, likely with good control of aberrations and distortion. This is often the preference for DPs who want a transparent lens, allowing the sensor and lighting to define the image, with specific 'character' added in post through filtration or digital manipulation. However, that line about "balancing character-rich rendering with technical precision" for Aatma suggests that purely clinical isn't what everybody wants. It's a delicate balance producers of high-end glass have to walk.

    The Craft Perspective

    From a practical standpoint on set, having a consistent T-stop across a lens set, as offered by the Panoptes 65 at T2.2, is a huge benefit. Camera assistants and DPs rely on this for maintaining exposure when swapping optics, especially during fast-paced scenes or when working with sophisticated lighting cues. It simplifies light meter readings and ensures image consistency.

    Also, the sheer range of 10 focal lengths means fewer gaps in your toolkit. You won't be forced into awkward compromises between a too-wide and a too-tight focal length. This provides more creative freedom and efficiency during coverage. When shooting on large format, the perceived field of view changes compared to Super 35, so a comprehensive set of primes is essential for hitting specific compositional marks.

    For professionals, the arrival of new high-end glass like the Panoptes 65 is always a significant event. It speaks to the ongoing evolution of our tools and the increasing demands for image quality and control. It impacts rental houses (who have to stock them), camera assistants (who have to pull focus on them), and, most importantly, cinematographers (who have to choose them to translate their vision). The lack of pricing information currently makes it impossible to fully assess their market position, but with a release scheduled for the northern hemisphere summer, we won't have to wait long for more details. For now, it's clear ZEISS is doubling down on large format, ensuring DPs have more options to capture expansive, high-resolution imagery.

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