Angénieux EZ 65 Series Announced – Two Large-Format Zooms, 60mm Image Circle, LPL Mount

Lens News

by Nino LeitnerJune 16^th, 2026

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Angénieux is taking its modular EZ zoom philosophy into the 65 format. The new EZ 65 Series consists of two LPL-mount large-format zooms, the EZ-2 65 (27-72mm T3.6) and the EZ-3 65 (82-300mm T4.2-T5.4), both built around a 60mm image circle to cover the latest generation of larger-than-full-frame sensors while keeping the ergonomics, resolution, and look that defined the original EZ lenses.

The EZ Series has always been about giving owner-operators a flexible, relatively affordable entry into Angénieux glass, and the move into 65 is a logical continuation of that idea at a moment when large-format cinematography has stopped being a rental-house curiosity. With cameras like the ARRI ALEXA 265, the Blackmagic URSA Cine 17K 65, and the FUJIFILM GFX ETERNA 55 pushing 65-style imaging toward working cinematographers, glass that can actually cover those sensors has become the bottleneck. Angénieux is now answering that with a two-lens set that spans wide-angle to long telephoto.

A quick refresher on the EZ concept

When Angénieux first introduced the EZ Series back in 2016, the headline feature was modularity: user-swappable rear optical blocks that let a single lens body serve either a Super35 or a full-frame/VistaVision sensor, paired with interchangeable mounts (PL, EF, E, and later RF for RED KOMODO and V-RAPTOR bodies). That user-customizable approach made the EZ-1 and EZ-2 popular with operators who didn’t want to commit to a single format, and the lenses carried the traditional Angénieux colorimetry matched to the Optimo and Optimo Style families. The new 65 variants extend that lineage upward, this time targeting the image circle demands of 65 sensors rather than swapping between S35 and full frame.

The two lenses

The EZ-2 65 is the wide-angle member of the pair, covering 27-72mm at a constant T3.6. It has a minimum object distance of 0.6m (2ft), weighs under 2.5kg (5.5lbs), and carries a 60mm image circle, with an important caveat noted by Angénieux: that 60mm coverage applies down to 30mm, while from 27mm to 30mm the lens covers a 58mm image circle. In practice, that means the widest end of the zoom is optimized for a slightly smaller circle than the rest of the range, which is worth keeping in mind if you plan to shoot open gate at the extreme wide setting.

The EZ-3 65 handles the telephoto end, spanning 82-300mm with a variable aperture of T4.2-T5.4. Its minimum object distance is 1.2m (4ft), it weighs under 3kg (6.6lbs), and it maintains a full 60mm image circle across the entire focal range. A 300mm long end on a large-format zoom is genuinely useful, since long focal lengths on bigger sensors are exactly where prime sets tend to thin out and where a zoom earns its keep on set.

Both lenses ship with dual feet and meter focus scales and, like the rest of the EZ family, are designed to retain a constant physical size through the zoom and focus range, which keeps matte boxes, follow focus, and rig balance predictable. Angénieux is offering the EZ 65 Series exclusively in LPL mount, the format that has become the de facto standard for large-format cinema bodies including the ARRI ALEXA LF, Mini LF, and 65, as well as LPL-fitted RED and Sony Venice cameras.

Where it fits in a busy large-format year

The EZ 65 Series lands in a market that has filled out quickly. ZEISS recently unveiled its Panoptes 65 set of ten large-format primes at T2.2 with a 59.9mm image circle, NiSi launched both a rectilinear 65 PRIME 16mm T2.9 and a 50mm T1 cine prime with large-format coverage, and the affordable end of the camera market has been reshaped by bodies like the Blackmagic URSA Cine 17K 65 and the FUJIFILM GFX ETERNA 55. What Angénieux brings that most of these competitors do not is the zoom format. Prime sets dominate the 65 conversation, so two cinema zooms covering 27mm all the way to 300mm could be an attractive complement to a prime kit, particularly for documentary, commercial, and run-and-gun large-format work where lens changes cost time.

It is worth being clear-eyed about the trade-offs Angénieux has made here. The apertures, T3.6 on the wide and T4.2-T5.4 on the tele, are slower than the fast primes increasingly common in this segment, which is a predictable consequence of covering a 60mm image circle in a zoom design while keeping weight under control. Whether that is a limitation or a non-issue depends on your work: for daylight exteriors and well-lit interiors it is a fair compromise, but operators chasing the shallow large-format look in low light will feel the difference against a T2.2 prime set.

A note on the look

Angénieux’s pitch for the EZ 65 Series leans on continuity rather than reinvention: the company says the lenses retain the intrinsic qualities of the EZ Series in terms of ergonomics, resolution, look, and feel. That framing matters for owners who already have EZ glass in their kit, since the implication is that the 65 variants should intercut comfortably with the existing line and carry the familiar Angénieux rendering. As always, claims about look and resolution are best confirmed on a real sensor with real subjects, and we would want to put these lenses in front of a chart and a face before drawing conclusions.

Angénieux has not published pricing or a firm shipping date alongside the announcement, and full optical specifications beyond the figures above are limited to the product sheet at this stage. We will update our coverage once those details are confirmed. For the official specifications, head over to the Angénieux EZ 65 Series page.

Are large-format zooms the missing piece in your 65 kit, or would you rather build around fast primes? Let us know what you’d shoot with the EZ-2 65 and EZ-3 65 in the comments below!