Cook Anamorphic Lenses & Red S8K Helium Camera

[Humberto Rivera]

Continuing with the theme explored at the top of page (#201) and immediately in the post above in #210; 8K delivery and 10K to 16K capture. Why is the PRESENT the time to think about challenging the HERE & NOW? Technology that is bound to be accelerated at the 2020 Olympics in Tokyo? The symbiotic relationship between “Optics & Sensor”. When will 8K become the norm for television delivery? These are all topic that must be explored in the PRESENT! Some people keep on asking; “why do we keep on dumbing down the current Red 8K Vista Vision Resolution?” Shooting in 4K, and releasing mostly in 2K for theatrical viewing.

Some say, it because it cost too much, come on, on a Movie that cost over $100,000,000.00, oh wait it’s the time that it takes render the images for VFX; sure there is a bridge you can buy in NYC. Maybe it’s because they become accustomed in their ways. Whatever it is, it doesn’t make sense, but many do it for expedience sake, for thinking of today like there is no tomorrow, like shooting in 4K, and not thinking of what may come next. Or maybe it’s the Giant Post Production Industry, they don’t want to change their ways; could it be? Maybe. Mark my words, 8K will eventually get HERE, now is the time to get ready! Right now, you have a movie shot in Super Panavision 70 that look better than a Movie shot in 2019, go figure!

Let’s say that for the foreseeable future the Image Circle remains at Ø 46.31 Spherical or Ø 43.3 for Anamorphic (if Red incorporates it, into their camera variable sensor size, all of them). Then it’s incumbent for the lens manufacturers to step up to the challenge, and they do appear to do so. So it remains for the sensor size to change, Red already has the Helium sensor, so it’s a just a matter for it to fill the Ø 46.31 Spherical or Ø 43.3 for Anamorphic Sensor Size. True or Not? What about the unknown sensor that is yet to come out. Remember the Lenses also play a role in this game. So it’s possible you may no longer have an 8K barrier, instead you might have an Image Circle Barrier, and then you can Belly-up to the Sensor Size Barrier; thus that make sense?

Humberto Rivera
https://en.wikipedia.org/wiki/Visual_effects
https://en.wikipedia.org/wiki/Compositing
https://en.wikipedia.org/wiki/Digital_compositing
https://en.wikipedia.org/wiki/Digital_cinema

[Humberto Rivera]

Stanley Kubrick's best films – ranked! (16)

https://www.theguardian.com/film/201...t-films-ranked

Number - 5. Full Metal Jacket (1987)

“Sidetracked by other projects, Kubrick’s output began to slow down in the 1980s. By the time this brutal Vietnam movie made it into cinemas it, had been overtaken and overshadowed by Oliver Stone’s Platoon, released a year earlier But it stands up incredibly well – principally down to the inspired inclusion of R Lee Ermey’s non-stop stream of creative foulmouthed abuse. The film’s diptych structure is designed to equate the trauma of training and combat, capped by the still-disturbing murders at the climax of each half. Kubrick’s refusal to leave England to shoot meant that, despite creative use of the Beckton gas works and hundreds of imported palm trees, it lacks the visual expansiveness that Coppola and Cimino brought to their Vietnam films; but Full Metal Jacket still packs a massive wallop.”

The boot camp part of the Film is the most realistic part of this Motion Picture for me, the second half is during the Vietnam War was so, so. I was there in Vietnam, in the U.S Marine Corps, as a ground pounder (infantry). All of Stanley Kubrick's Films where very good.

Humberto Rivera

[Humberto Rivera]

Cooke Lenses, there is nothing NEW this year, but they have decided to catch up with their past. So the Cooke Anamorphic Lenses 1.8x will start to be delivered with an Image Circle of Ø 43.3 mm. The have improved their i Technology according to Les Zellan, to the point where they have reach the summit after 20 year of keeping at it.

http://www.studiodaily.com/2019/04/n...cs-les-zellan/

Humberto Rivera

[Humberto Rivera]

https://www.cookeoptics.com/u/news.h...cine-gear-2019
“Cooke Optics highlights full frame capabilities at Cine Gear Expo 2019 with S7/i and Anamorphic/i Full Frame Plus ranges - /i3 lens metadata demonstration highlights huge time savings for post production –

Leicester, UK – 29 April 2019 – Cooke Optics will demonstrate its strength in the full frame arena at Cine Gear Expo 2019, with lenses from its S7/i and Anamorphic/i Full Frame Plus lens sets on Stand 67. The award-winning lens manufacturer will also present the latest developments for the /i Technology metadata system that provides detailed lens data to VFX and post-production teams, and Cooke Optics TV will be live broadcasting interviews from the stand throughout the show. All nine of Cooke’s acclaimed lens families will be represented on the stand. The new Anamorphic/i Full Frame Plus range has been designed to meet the growing appetite for large format production, while offering the popular anamorphic characteristics including flare and oval bokeh. This range is also available with Cooke’s SF ‘Special Flair’ coating, which enables an exaggerated flare that gives yet more choice to cinematographers.”

Humberto Rivera

[Humberto Rivera]

Cooke Optics presents #ShotOnCooke global online motion gallery
- Website features outstanding cinematography shot with Cooke lenses for real-world comparison between lens ranges.

https://www.cookeoptics.com/u/news.h...ncooke-gallery

Leicester, UK – 29 May 2019 – Cooke Optics is pleased to present #ShotOnCooke (shotoncooke.com), a unique online motion gallery showcasing the use of Cooke’s acclaimed lens ranges across a variety of production genres. The website, which is the brainchild of Cooke’s Director of Sales - Europe, Carey Duffy, has been designed as an insightful, educational resource presenting professional content created with Cooke lenses from around the world, championing great cinematography and highlighting interesting case studies.

Below is the web page that shows some of selected cinematographer’s work.
http://shotoncooke.com/

Humberto Rivera

[Humberto Rivera]

The Tokyo Olympics are coming in the summer of 2020, so is 8K Television for Japan. Have you seen the Advisements on CNN and other American Television Networks? Samsung is slowly introducing a QLED 8K Television in their 30 Second Spots. The 2020 Olympics are slowly creeping-up, soon it will be 2020 when they flourish into the light of day. Looking at the Production Landscape, the only practical, functioning Cinema Cameras are; the Red 8K Vista Vision, and the Panavision 8K DLX II. Are there any others? Not as far as I can see. Both using the ø 46.31 Image Circle sensor. All using R3D Files, that’s one frame per image. That’s not to change for a while, because of a U.S. Patent granted to the Red Digital Company, and ignored by everybody else when Red applied for the Patent.

The Tokyo Olympics will be the worldwide official introduction of 8K, granted not everyone will be up to the task of looking at it on an 8K Television Image, but the images will originate on 8K Cameras provide by NHK with their giant trucks and cameras, but what about supporting images in mobile productions, commercials, and anything we have not imagining, where are they coming from? Just saying, the Red 8K Vista Vision Camera are ready-to-go. It may be that the Red Cameras are already in production, all major worldwide events begging their productions way in advance of the event.

What about telephones and digital still cameras, that shoot Moving Images? They all continue to creep-up in the Megapixels and Dynamic Range scale, they entered into the triple digit territory recently; 100MP. It’s as if they are continuing for the Big Show, the 2020 Olympics. Apple showed a Canon 8K Camera previously not known to the Cinema Industry in the pre-introduction of the New Mac Pro, somebody screwed-up. Think of-it shoot on the Red Camera, edit on 8K and be ready to show your audience all in 8K. Something that would farfetched just a year ago, think what they would do with another year. Someone at Apple let the “cat out of the bag” and said the when they say RAW they might meant an R3D File, we’ll see in the fall of this year if that is true. The Apple Computers were shown working at 8K with three simultaneous monitors. Working on Final Cut Pro and Da Vinci Resolve. Just saying, the computer can handle 6 monitors.

Here is a rather crude video, but revealing; https://www.youtube.com/watch?v=Y8QAncnkB-E and more refine video but less revealing; https://www.youtube.com/watch?v=QJxbqIo5pC0 Stay tune. What would the HP Z840 Workstations, what would they do? https://www8.hp.com/ca/en/campaigns/...ions/z840.html and https://www.dpreview.com/news/688064...ro-display-xdr

“Leak: Canon has a 63MP full-frame sensor, possibly for a high-resolution EOS R camera” https://www.dpreview.com/news/990805...ked-data-sheet and https://www.dpreview.com/files/p/art..._sensor_6.jpeg

Humberto Rivera

[Humberto Rivera]

Look around your world, you might see clues to the world of 8K, and eventually 16K, it’s all programed to start on the year 2020. It all starts with the connector, and the cable to your computer.

https://www.dpreview.com/news/386028...k-hdr-monitors
“By late 2020 we should see the first products supporting a new DisplayPort specification that will allow users to run monitors with resolutions of up to 16K at 60Hz and to carry data at rates of over 70 Gigabits per second, according to the Video Electronics Standards Association (VESA). The new DisplayPort 2.0 will offer three times the bandwidth of the current DP 1.4 and is being introduced to prepare for the move to higher screen resolutions and to meet the coming demand for multiple 8K monitors connected to the same computer. Devices using the new standard will be able to run one 16K display at 120Hz and 30 bits per pixel using 4:4:4 color in HDR, two 8K displays working at 120Hz and 30 bits per pixel using 4:4:4 color in HDR or three 4K displays working at 90Hz with the same color standards as the 16K and 8K displays.”
Sony is toying with the idea of a 61 Megapixel full-frame sensor.

https://www.dpreview.com/news/774750...roduces-a7r-iv
“The Pixel Shift mode can captures 960 Megapixels worth of data by compositing 16 images, which can be processed via Sony's Imaging Edge software to create 240MP photos. Users have a choice of 16-shot mode that makes 1/2 pixel shifts or a 4-shot mode that makes full pixel shifts. Using the 1/2 shift mode you get twice the spatial resolution and full color at each pixel, while the full shift mode (which uses 4 images) just cancels out the Bayer filter. The a7R IV can capture oversampled 4K/30p video with touch tracking and real-time Eye AF, and support for 8-bit S-Log2/3 and HLG. When using the Super 35 crop there is an additional 1.2x crop at 30p and 1.1x at 24p. As with its predecessor, the top bit rate is 100Mbps using XAVC S.”

Most innovations work outside of the Motion Picture Sphere. Once proven in the still image universe they move into the Professional Motion Picture Digital Cameras. NAB 2020 is bound to be full of surprises. Stay tune. I said it before, but it’s worth repeating, 2020 is just around the corner, there will be 8K television sets in Japan, streaming video providers will explode on the Commercial Scene. Apple will have and ready to roll, its full running 6K system that easily converted to 8K. Just a few thing out of the MANY that are coming.

Humberto Rivera

[Humberto Rivera]

Cooke Lens Price List as of April 2019

What are the current prices for any of the Lenses listed in the Cooke cataloged? For those people who are interested in the complete list; “Cooke Price List” as of “April 2019”, is right here in the pdf bellow. https://fjsinternational.com/cpl.pdf

S7/i Total; $318,500.00– 13 Lenses - 16 mm, 18 mm, 21 mm, 25 mm, 27 mm, 32 mm, 40 mm, 50 mm, 65 mm, 75 mm, 100 mm, 135mm and 180 mm

Cooke Anamorphic/i Full Frame Plus Total; $230,500.00 – 7 Lenses 32 mm, 40 mm, 50 mm, 75 mm, 100 mm, 135 mm, and 180mm, over the next 12 months.

Humberto Rivera

[Humberto Rivera]

I was thinking. After truth, there is nothing like science fiction to excite the imagination, for tomorrow reality. Think about this for a few seconds, what-if you were back in the 1980s and you were watching television, can you see the image? It a kind of BetaCam sort of Image, it was great at that time, but now, hug. Now think about you’re reality today, whatever it might be. You could be a consumer watching a Samsung 8K QLED resolution, or you could be working on an 8K or 16K television in a research center somewhere, or you could be working on gadget for the 2020 Olympics in Tokyo or the 2020 NAB in Las Vegas, whatever your sphere. Can you see the difference in your mind? What would you do for a “Motion Picture Film” to be release during 2020 or beyond, would be 2k, or 4K, or would you make sure that it would play to it’s optimum in an 8K QLED Television and beyond? That’s a very serious question for today’s and tomorrow’s productions.

Can you see-it in your mind, that space juxtapose one to the other. Yesterday, Today, and Tomorrow. Now exponentially look into the future and see what will come to past over those next 10 years. That exponential function is a measurement of time is what propels its movement in the Electronic Industry of today. That’s also the typical time frame for the exploitation of a Motion Picture, ten years. Things are that way they are, until they are not that way, they’re always changing. Imagine what you cannot imagine, the unimaginable. Try it, let your mind go into uncharted territory. So to summarize it; look to the past and you would see a desolated function, look to the future and you will see an accelerated function of that formula for an “exponential function”, a new paradigm.

Paintings of long ago created Music for the eyes with, its size, resolution, and dynamic range on the medium of a canvas. Complete works are a symphony to behold for memorializing the past for today’s audience. Your Camera creates Music for the mind. But technology advances its fidelity, size, and dynamic range. Lights and shadow move across the screen. It advances it into an uncharted future.

Image commercialization by its nature is stagnate to the present, it’s counterintuitive it has to move on. It’s hard to let go of something that you have invested you’re hard earned money for the here and now, it’s very hard to let go of it. But competition compels you to acquire new tools, they are cheaper and more efficient, they are the currency of the “Visual Artist”, but hard to let go nonetheless. So it’s-as if you’re in the middle of a vortex that has suck you in, so use today tools today for today’s projects, and tomorrows tools for tomorrow projects, you have to roll with the flow. Things will change as todays science fiction becomes tomorrow reality. It’s becomes more difficult to a have a “Returned on Investment” so quickly, everything is accelerated. The Red Digital Company helps a little bit in that regards, its software updates are free, it wasn’t that long ago that was not the case, but thanks to Red’s institutional changes, there is a new paradigm, and they continue build on their technology that will remain in force for a while, R3D FILES. It’s as if you’re getting a new camera as new software is up-graded, at no charge.

So the Red Digital Cinema Company mission is to maintain that edge for the customer and themselves, that keeps it at the head of the storm that is sure to follow, R3D FILES still have a ways to go into the future, DCMC 3 is around the corner and it will be free. One Day in the future there will be a 16K television set, it’s size and resolution will no longer be an impediment you to go to the “Movie Theater” to see a “Big Screen”, with surround sound, and all the accompanying sensory tools to create new reality. There will be cameras, editing system, special effects will improve the perception of the image, and anything else that we need to imagine because they don’t exist today. It will come one day! Movie Theaters are going to have to do something as televisions move from 4K to 8K, increase in actual size, and dynamic range expands, they’re on shaky grounds.

The Red Digital Cinema Company appears to have at least four current professional image sensors; The Red 8K VV MONSTRO, the Helium 8K, the Gemini 5K, and the New Komodo 6K sensors, how many do other companies have? Each one for different tastes, use, and budgets, a true smorgasbords of camera sensors.

Humberto Rivera

[Humberto Rivera]

https://www.cookeoptics.com/u/news.h...ix-osmosis-s7i

“Netflix’s French-Language Original Series Osmosis Shot with Cooke S7/I”

“Leicester, UK – 15 October 2019 – Imagine that in the not too distant future, a dating app could match you with your soulmate by mining the data in your brain. That’s the premise of Osmosis, the French-language original series from Netflix; however, things don’t always go as planned. Cinematographer Jean-François Hensgens was chosen by Netflix to shoot the first six episodes of the eight-episode series with multiple directors, including Julius Berg, Pierre Aknine and Mona Achache, while maintaining visual and artistic continuity from episode to episode.

Hensgens used two RED DSMC2 BRAIN camera bodies with an 8K MONSTRO sensor, using the entire sensor but with fairly high compression ranging from 9:1 to 16:1 to have file sizes that would be manageable. “When we started this project in May 2018, there were only a few lenses that could cover the full frame. I tested and compared almost all of them, including the Cooke S7/i, the Cooke Anamorphic/i Special Flair and lenses from other manufacturers,” said Hensgens. “I immediately saw the beauty of the images shot with the S7/i lenses, especially at T2, which just seduced me.”

The crew was shooting with both cameras entirely on the shoulder, either simultaneously or with one camera shooting and the other being prepped. Hensgens’ S7/i lens kit contained the 25mm, 27mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm and 135mm primes, with the 65mm being the lens of choice for the majority of shots. “We only had one set of S7/i’s, so we did our best to share focal lengths, and at times, used a 2x extender,” said Hensgens. “Sometimes, we even changed the camera settings to 7K to lengthen the focal length to have the ideal reverse shot.”

Lighting played an important part of the set design as Hensgens wanted the audience to feel that, in the near future, light is alive and that it breathes. “We essentially used LED sources such as Litepanels and Astera tubes, which allowed us to constantly evolve the light on the various sets — that worked especially well in the offices of the dating app’s start-up where everything is controlled by an artificial intelligence and where the light is the reflection of the state of mind of this AI,” he said.”

Humberto Rivera