Thread: Cook Anamorphic Lenses & Red S8K Helium Camera

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  1. #221  
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    https://www.cookeoptics.com/u/news.h...amerimage-2019

    Cooke Optics to Show The Best in Cinematography Lenses at Energa CAMERIMAGE 2019
    “Leicester, UK – 29 October 2019 – At the 27th Edition of the International Film Festival of the Art of Cinematography (Energa CAMERIMAGE) held in Toruń, Poland from 9-16 November 2019, Cooke Optics will be showcasing the best in cinematography with its latest full frame and prime lenses. This will give cinematographers the opportunity to see for themselves just what is meant by “The Cooke Look®”.

    The first of three lenses to be highlighted at Energa CAMERIMAGE will be the new S7/i Full Frame Plus T2.0 prime lenses — available in focal lengths of 16,18, 21, 25, 27, 32, 40, 50, 65, 75, 100, 135mm and 180mm. The S7/i Full Frame Plus features superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture. Its cam-type focus mechanism allows for smooth focus adjustments, while its modular construction increases ease of maintenance and serviceability.

    The Anamorphic/i Full Frame Plus T2.3 prime lenses brings full frame capture capabilities to those shooting large format with the anamorphic characteristics cinematographers expect, including flare and oval bokeh. Avaliable in 40, 50, 75 and 100mm focal lengths in both Standard and Special Flare (SF) versions. This initial set of Anamorphic/i Full Frame Plus prime lenses will be joined by the 32, 135 and 180mm later this year. Also highlighted will be the Cooke Panchro/i Classic T2.2 to T3.2 prime lenses, which recreate the same vintage look and feel of the legendary Speed Panchro with the advantage of modern glass mounted for today’s cameras. The Cooke Panchro/i Classic prime lenses are available 12 focal lengths: 18, 21, 25, 27, 32, 40, 50, 65 MACRO, 75, 100, 135 and 152mm.

    All Cooke lenses include /i Technology that collects frame-by-frame detailed lens data for production, VFX and post-production teams. The Cooke team will also showcase its lens-agnostic cinematography education channel Cooke Optics TV (www.cookeoptics.tv) alongside #ShotOnCooke (www.shotoncooke.com), a curated visual gallery presenting the best cinematography shot on Cooke lenses from all production genres from all over the world.”

    Humberto Rivera
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  2. #222  
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    In the future, not to long from now! The Motion Picture Distribution Architecture will definitely change. What will be the final Parading? We don’t know, it’s now in a transition, morphing into a new parading that demands its entrance into the “Distribution Chain”, streaming services have access to their audience through various digital means, and digital distribution has made it possible to a connected World. It transcends all political borders. There is a new business model evolving right before our eyes. The key is “watch what you want, when you want” that has familiar ring to it, that’s because it was a familiar line from past television advisements.

    I often thought at the time it didn’t make any sense. Now I think it’s a logical conclusion for the “Product”, the Product being a “Motion Picture Film” or “Series”, first you imagine-it, then you figure out how to build it. The distribution Network, it’s always been about “Bandwidth”, it ways been about “Image Resolution” they go hand in hand with each other, as the Image travels through the pipeline to the consumer at Home. The consumer, how do-you reach the Worldwide Consumer with the whole message, maintaining resolution, that’s the key. The Motion Picture Production, in full resolution, now it’s possible with huge computers, at Amazon HQ.

    Take two films like “Day for Night” by François Truffaut, released on 14 May 1973 (Cannes), or “Singing in the Rain” by Gene Kelly and Stanley Donen, released on April 11, 1952 (two most-watch Films for filmmakers), when you see them in the native format, and color, they are spectacular, but they were create long, long ago. What’s preserving the Resolution of this two films; is the Bandwidth of the Motion Pictures Film, now translated to the “Modern Digital Cinema”, with “Improved Bandwidth” bring back the Features in all their glory. Remember Film use to go from Original, to Intermediate all optical, to Release Prints, while Digital Prints go from Originals to release Prints with no apparent loss of resolution because of Digital Cinema’s Properties. We now live in a different world! Remember when you screen the Production onto a screen in a darken room, now you can see-it in the home, with the same resolution, or better.
    https://en.wikipedia.org/wiki/Day_for_Night_(film)
    https://en.wikipedia.org/wiki/Singin%27_in_the_Rain

    The evolving Motion Picture Distribution Architecture; “Where is it”? Is right at the home, it’s on the television set, it’s evolving, and catching up with the Big Screen at your local “Theatrical Screening Site”. If you think of the experience off watching a Movie, it’s the Ratio of Screen Size to the distance where you feel comfortable with its size, and the accompanying audio experience. 4K television sets are now common in 65 inches or larger, 8K communality are in the near future, and things are evolving exponentially; “Where did I hear that before”?

    So what do you shoot-on for the evolving “Distribution Chain”, I would say, 8K, but that just-me? At the present the only two professional digital cameras capable of shooting 8K 4:4:4 capturing each frame in a bucket, are the Red Digital Cinema Cameras, and the Panavision DLX I and II, both with a Red Digital sensors. Motion Picture Theaters for the most part are 2K, that’s hard to imagine, but true. Home screens are whatever resolution you have at home HD 1080P, 4K or 8K, all far superior to the Theatrical experience, think about that for a minute, and let it sink in. Some say; “But you need that communal experience, watch it with other people, to feel like a community, I say, you can have a communal experience with your friends and family, right at home, right now. One day, there will be 16K television, it inevitable. 16K will surpass all the other viewing methods? Stay tune.

    So where are we? The Theatrical Universe is mostly in 2K, with some relative small 4K and IMAX Theaters. Now streaming services which are in abundance with their “watch what you want, when you want” policies. There’s Netflix, Amazon Prime, Hulu, Coming on line this year are Apple and Disney, and who knows who will appear in the future. They are almost all 4K. The consumer numbers usually start about 200,000,000 subscribers out of approximately 6,500,000,000 people in the World, that’s about 0.032% (more or less) of a Worldwide Audience, that number can only go up from there, with the important choice of “what to watch and when to watch” being up to the client when its suites him or her. Not when a theatrical exhibitor that says; “watch now or never”, how many film are currently left out of that equation, many. That’s no longer an option. New distribution models will emerge from obscurity, some unexpected. That will be a boom for the Red Digital Cinema Company.

    Apple announced on November First, its new streaming service, for $4.99, it’s a slightly different strategy than the others, so if you have an iPhone, or practically any Apple devices you you’re a build in customer, so that’s about One Billion (underestimation) potential users Worldwide, that a Billion with a “B”. The $4.99 price tag is just about inconsequential the whole marketing strategy. Let’s see how it all works out. We’re in new territory.

    Recently HBO Max was announced in Burbank, they will begin to stream in May 2020, I personally don’t see the same kind of enthusiasm for this streaming service as the others, that’s just me, I could be wrong. Disney and Apple will come first. It’s a crowded streaming market you got to grab the consumer by their expectations. HBO Max has a price of $14.99 ($15.00) a month, twice as much as Disney+, and Apple TV+, which cost $6.99 and $4.99 per month, respectively. HBO simply does not have the “Deep Pockets” to compete with the big boys. We’ll see how it works out by December of 2020. It even cost more than Netflix ($12.99) who was first to stream, long ago. Warner Media is not the same league as Amazon, Apple, or Disney, but we’ll see. The horse race has begun, the finish line will not be reached till the end of December 2020. They all do have something in common; “watch what you want, when you want”! In the local Theatre is “watch when we tell you, or not at all”. There is also the made for “insert name of streaming service”, multi-chapter series like; Jack Ryan, Hana, Carnival Row, and others, in four to nine episodes, and they are on-line with all chapters at once.

    I remember when I was about five or six years old boy, my grandfather at that time bringing home the latest “Ma and Pa Kettle” film in a 16 mm print to watch at home. There was only the local Paramount Theater where the Hollywood Pictures were screened, Victoria Theater was around the corner, which that screen the serials, and La Luz which screen the Mexican Film and Tarzan with Jonny Weissmuller. This was in Rio Piedras, Puerto Rico. We had as option at that time of going to the Theater and screen a 35mm print, or watch-it at home. But those two option where not universally available to everyone, and the quality was not like todays television sets, we had a sheet to watch the Film on the wall. That must have been around 1948 or so. Television did not exist, the only home competitions was the Radio, and they did have the serials on the Radio. I remember having my ears plug right to that magical box at the time.
    https://en.wikipedia.org/wiki/Ma_and_Pa_Kettle
    http://donstradley.blogspot.com/2017...erse-1940.html

    Do you think that the Producers of those Film thought that a little boy in Puerto Rico was enjoying the Films at home, growing up in a bilingual family? Watching the Movie Serials around the corner form the Paramount Theater, at the Victoria Theater was enjoying a number of serials that regularly arrived in Puerto Rico. I imagined, that’s why “Flash Gordon” has really lasted well into the modern era in its various incarnations, including “Star Wars” with its latest Production to be released latter this year. Everything changes because of resolution, or bandwidth as the key. Bandwidth in VFX, screening quality, comfortable watching environments, stopping the screening when you want for whatever purposes.

    Who knew that little boy went on to become a U.S. Marine during the Vietnam War, after the war he was send to USC Cinema School full time, as a student, still being in the U.S Marine Corps, and eventually was honorably discharged as a Gunnery Sargent, all because he applied serval time to become an Officer in the Marines, and was not accepted for whatever reason. I couldn’t go back to Vietnam because I had Three Purple Hearts, it was a Marine Corps rule. So I got out of the Marines years before my retirement time, and I began my own Motion Picture Film Companies, in Los Angeles, California. There were no more wars in the Marine Corps. I guess live throws different options at you, constantly, at the end, that’s different for everyone’s history. Their stories are what they are, for better or worse, and the chapters continue to change, as you navigate through life.

    I now get too watched on Amazon Prime serials like; “Carnival Row, “Jack Ryan” or “Hanna” all original Amazon Prime series. I get to “watch what I want, when I want”, a new paradigm shift that’s continuing to move during the 21 Century! Yesterday like today, only a small portion of the World’s population get to go to the theater to enjoy a Motion Picture Film, however Netflix, Amazon Prime, Hulu, are expanding into more homes around the World. Where some little boy or girl in any country can watched it in a 1080P, or 4K, or 8K Television Screen in the near future, “watch what they want, when they want”! It’s like the viewing environment is already in place in the Home, all we need to do is just add the Motion Picture Film or serials. Just like it was in Puerto Rico back in 1948, at the Paramount and Victoria Theaters.

    Humberto Rivera
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  3. #223  
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    In this article the; “… the RED MONSTRO 8K SENSOR had the best look for the project, with the flexibility, sensitivity and physical size of the camera they needed. The next consideration was the anamorphic lenses — and this would be Bell’s first anamorphic project. Following extensive testing, the anamorphic lens of choice became the Cooke Anamorphic/i primes. “We wanted a great anamorphic cinematic look with the ability to shoot fast, but the lenses also had to be very reliable through varied environmental conditions and have good accuracy for the focus pullers. That may seem like a lot to ask, but the Anamorphic/i just stood out from the rest…” Something to think about”. For all its popularity, once you get beyond all the hype, a combination of the Red 8K MOSTRO and the Cooke Lenses are definitely a combination that’s hard to deal with.

    https://www.cookeoptics.com/u/news.h...oke-anamorphic

    Humberto Rivera
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