(Leicester, UK--April 14, 2016) Cooke Optics
, the multi-award winning manufacturer of precision lenses for film and television, is pleased to reveal details about its second new front Anamorphic/i zoom lens at NAB 2016. The new 45-405mm zoom lens will be announced, while the new 35-140mm Anamorphic/i wide angle zoom will be available to view for the first time, with deliveries expected to start over the summer. The last of the original 10 prime lens focal lengths, announced two years ago - the 300mm Anamorphic/i lens - will also be on display on Booth C8344, with deliveries starting after the show.
The 45-405mm T4.5-22, front Anamorphic/i zoom lens has preliminary specifications featuring 9x zoom front anamorphic, 5’10” MOD from image plane and 3’11” close focus from the front of the lens. True to Cooke style, the color and contrast will match the rest of the series and the entire range is on track to be ready to showcase at NAB next year.
The new Cooke 35-140mm Anamorphic/i zoom on display is a true, front anamorphic with oval bokeh throughout zoom and focus. The patented optical design brings together a unique combination of attributes that allows shooting from very wide angle to telephoto with a 4x zoom ratio and 2x anamorphic squeeze. With T3.1-22 aperture, and 90° rotation of iris scale, the colour and depth of field characteristics are matched to the existing Anamorphic/i primes.
Cooke will also present the 300mm Anamorphic/i lens at the show, marking the completion of the original 10 lens prime Anamorphic/i set with focal lengths from 25mm to 300mm, following the launch of the 65mm Macro lens at IBC 2015 and the 180mm displayed at BSC Expo in January this year. Additionally, lenses from the acclaimed 5/i, S4/i and miniS4/i lens ranges will be showcased on the stand.
Cinematographers have chosen Cooke lenses since the dawn of the film-making era due to their speed, precision and the unmistakable ‘Cooke Look’. Vittorio Storaro ASC AIC, who recently worked alongside Woody Allen on his new film Café Society
opening at the Cannes Film Festival on May 11th 2016, expressed this sentiment explicitly.
Speaking of his experience using the S4/i prime lenses on the shoot he noted, “To me, Cooke is the one because Cooke built their lenses for cinema. Other companies usually use photographic lenses, rehoused for use with cinema cameras. We needed serious lenses to record the plastic movement of light on the face, for example, from maximum brightness to the maximum darkness, the penumbra, as Leonardo called it."
This will be further demonstrated at NAB 2016 through the promotion of the Cooke Optics TV
web channel that has been gaining momentum since its launch at IBC 2015. The free-to-view channel features weekly informative interviews from high profile cinematographers across the industry, including Ed Lachman, John Mathieson and Sean Bobbitt.
The videos include insights spanning from cinematography advice and master-classes to previously unheard snippets of information, coming directly from working on these high profile films and television series. The latest additions to the site, which now has over 2000 subscribers, includes discussion from Fabian Wagner on the trade secrets he employed to create the surreal effects on screen during the filming of the popular BBC drama, Sherlock
Visitors to the show can keep an eye out for updates on Cooke Optics across the social media channels, including Twitter, Facebook, LinkedIn and the recently launched Instagram. The new Instagram
page provides a platform for Cooke Optics to showcase a rich range of visual content. Cooke fans can submit images for sharing on the account by uploading images on their own account using the hashtag #CookeLook.