Lenses

Hurlbut Cookes for Fathers and Daughters

Wed, 02/17/2016 - 10:47 -- Nick Dager

Cinematographer Shane Hurlbut, ASC used a series of 10 Cooke S4/i focal lengths to shoot Gabriele Muccino's latest feature Fathers and Daughters, starring Russell Crowe and Amanda Seyfried. Hurlbut's lens package for the Canon EOS D500 and MōVI digital 3-axis gyro-stabilized handheld camera gimbal included the Cooke S4/i 14mm, 18mm, 21mm, 27mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm lenses. Fathers and Daughters, a Voltage Films and Busted Shark production of a Voltage Pictures Film, marks the ninth feature film Hurlbut has shot with Cooke lenses.

Metadata: Lenses for the Digital Cinema Era

Tue, 01/05/2016 - 11:09 -- Nick Dager

It’s an understatement to call Cooke Optics’ chairman and owner Les Zellan a digital cinema pioneer. In 2000 when he first introduced the idea of metadata technology in lens manufacturing, only a small number of people believed that digital cinema technology would ever truly replace film as Hollywood’s production medium of choice. At the time, the American Society of Cinematographers was actively campaigning against the idea of replacing film projectors with what were derisively called video projectors. Much has changed, of course, but Zellan still talks in the wary manner of pioneers who understand that, even though they’ve overcome some challenges, there are still more to face.

The Making of Some Special Lenses

Mon, 12/28/2015 - 15:47 -- Nick Dager

When J.J. Abrams and Dan Mindel, ASC, BSC took on Star Wars: The Force Awakens, they knew they were handling a cultural touchstone. As they did with Star Trek and Star Trek Into Darkness, they wanted to respect the antecedent while making a great, entertaining film for today’s audiences. So when it came to choosing format, lenses and the right look, they began by researching how the original Star Wars films were made.

Zooming into Cinema

Fri, 10/02/2015 - 12:34 -- Nick Dager

When Fujinon added the PL 19-90mm zoom lens to its Cabrio line, the company anticipated resistance from the cinema community. As Mike Nichols, business development manager for sales and rental house AbelCine puts it, “Most feature film DP’s are accustomed to primes and prefer a more traditional cinema-style lens, particularly in a narrative set up. And while the removable servo is convenient, DPs may not yet see it as a lens that’ll work in a cinematic set up.” That’s starting to change.

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