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Partnership4 February 2025

ARRI Ensō Primes: A nighttime test on a rugby field

By Stephane Martins

Stéphane Martins (UCO) tested the ARRI Ensō Primes, along with their Vintage Elements accessories, during a nighttime shoot on a rugby field. A setup that highlighted the qualities and characteristics of these lenses under demanding conditions.

Genesis of the project

It all started during an exchange with ARRI France following the release of their promotional video on the Ensō lenses. Intrigued by the idea of a rugby-themed shoot I had pitched to them, they lent me a standard prototype from the series and suggested I use the footage for their presentation at the AFC Micro Salon.

My original intention was to shoot in natural light, staging rugby players in full action. The goal was to explore the versatility of the Ensō series by testing each focal length under various conditions.

A change of plans

A production constraint quickly challenged my approach: the Clignancourt rugby club we were working with only trained in the evenings, between 7 and 9 pm. This limited window meant we had to shoot exclusively at night, with all the lighting challenges that entails.

This change ultimately made for an even more interesting test for the Ensō lenses: how would they perform in an environment where managing highlights, contrast and sharpness was crucial?

Camera and technical setup

Since the Ensō Primes cover full frame, I had the choice between two recent ARRI cameras: the Mini LF and the ALEXA 35. I wanted at least 100 fps, with some shots at 120 fps in 4K 16:9. Only the ALEXA 35 allowed this configuration, exclusively in RAW, with the added bonus of its sensor’s increased sensitivity — a key asset for a night shoot.

The project was therefore shot in 4K 16:9 ARRIRAW.

Lighting: working with the stadium’s constraints

For lighting, I used the existing stadium floodlights (4500K sodium), supplemented by two ARRI SkyPanel S60-C units to bring a touch of colour and separation to the subjects. The idea was to keep a naturalistic look while controlling the contrast between the players and the background. I also used negative fill on some setups to carve out the shapes.

In these conditions, the Ensō lenses behaved very well. Their rendering of highlights is smooth, without harshness, even when facing the sodium floodlights directly. The bokeh is round and pleasant, with no nervous or distracting patterns. Sharpness is excellent from wide open, with very good homogeneity across the frame — a real quality for this type of fast-paced shoot where you don’t always have time to fine-tune framing.

I was also impressed by the lenses’ compactness and lightweight design. On an Easyrig with the ALEXA 35, the handling was extremely comfortable, even over two hours of continuous shooting. The focus throw is smooth and precise, perfectly suited for handheld work.

Ensō Vintage Elements (EVE)

I decided to use only the positive elements, given the conditions, in particular:

  • The 200P with the 105mm.
  • The 350P with the 24mm.

The rendering is completely transformed, with a subtle glow and a swirling softness that envelops the image without drastically affecting central sharpness. It reminded me of the look of vintage Canon Rangefinder lenses wide open or Zeiss Go Mk1s, but more subtle, especially with the 18mm.

The Ensō lenses represent an interesting and versatile addition to the ARRI range. Their combination of compactness, softness and homogeneity makes them an effective tool under demanding conditions.

In this project, where constraints were numerous, they allowed me to adapt without difficulty. 

What I describe above remains a personal feeling, a subjective impression, since I haven’t seen the images in a proper screening room. However, our craft being partly based on feelings, mine are very positive regarding these lenses. There is no doubt they will win over many fellow cinematographers.

These lenses offer a versatile platform that can evolve with the filmmaker’s creative vision, thanks to the Vintage Elements. In an industry where equipment choices are ever more complex, having a modular system like this is a real asset.

Acknowledgements

A big thank you to:

  • ARRI France for this wonderful opportunity.
  • The players from the Clignancourt rugby club.
  • Full Motion and RVZ for the equipment.
  • COMPANY 3 for the dailies grading.
  • The entire team involved in this project.