IBC 2018 announcements have started pouring in and we’re not even there yet! Legendary British cine lens makers Cooke Optics just announced they will be debuting a new Full-Frame Anamorphic 50mm T2.3 lens at IBC 2018 in Amsterdam that will be the first taster of their new high-end anamorphic range designed to fulfil the most stringent demands of DoPs shooting scope with the latest generation large format cameras such as the RED Monstro 8K and Sony VENICE.
Adding more flare to their already acclaimed Cooke Anamorphic/i lens family, the new Anamorphic/i Full Frame Plus range is set to bring the beloved anamorphic characteristics and aesthetic including flare and oval bokeh to top-echelon large format productions.
The new Anamorphic/i Full-Frame Plus range, will feature a T2.3 maximum aperture opening, and will cover a range starting from 32mm, 40mm, 50mm, 75mm, 100mm, 135mm and 180mm lenses. The 50mm will be the first in production, with the rest following over the next 12 months.
The image circle will cover the full 24 x 36mm full-frame 35mm sensor, with a unique 1.8x squeeze, unlike more common 2x or 1.3x squeeze existing Anamorphics. Like all Cooke lenses, the Anamorphic/i Full Frame Plus range will include /i Technology that collects detailed lens data for VFX and post-production teams. Additional specifications will be confirmed on Stand 12.D10 at IBC 2018.
Les Zellan, Chairman, Cooke Optics, said:
“As soon as we saw the enthusiastic reception for the S7/i Full Frame Plus lenses, we knew the next logical step was to give full frame an anamorphic option. After a great deal of research and discussion, we believe the 1.8 squeeze of the Anamorphic/i Full Frame Plus range gives the best results for full frame anamorphic. At 2x you would lose too many pixels, and at 1.6x (the correct ratio to use every pixel) you will not get enough of the anamorphic character.
Our solution at 1.8x gives the image a greater anamorphic feel at the aspect ratio of 2.40:1 whilst capturing 90% of the pixels, therefore keeping this format well within industry resolution standards. However, because these are Full Frame Plus lenses designed to cover the full still frame of 24 x 36, you can elect to use 100% of the pixels which will result in an aspect ratio of 2.70:1.”
The /i Technology provides cinematographers and camera operators with vital information on lens setting, focusing distance, aperture and depth-of-field, hyperfocal distance, serial number, owner data, lens type and focal length in both metric and footage measurements, as well as inertial tracking data, shading and distortion data. For zoom lenses, the zoom position is displayed.
The new Cooke Anamorphic/i Full-Frame Plus lenses will be able to capture over 90% of the imaging sensor area of current large format/full-frame cine cameras like the Sony VENICE for example, which will be much appreciated by the cinematography community as it will still provide those lovely anamorphic characteristics without throwing away too much sensor data.
At IBC 2018, Cooke Optics will also present the Panchro/i Classic 65mm Macro and 21mm lenses for the first time, as well as various lenses from the S7/i, miniS4/i, Anamorphic/i and Anamorphic/i SF families.
In addition, visitors to the Cooke stand will see demonstrations of /i3 (/i Cubed), the latest version of its /i Technology metadata system that now provides distortion mapping – not just a theoretical measurement of all lenses of a particular focal length, but of the specific lens in use. New deliveries of S4/i, 5/i, and S7/i lenses from October 2018 will include /i3 functions.
I am heading out to Amsterdam tomorrow for IBC, the show opens on Friday, and I will do my best to do as many interviews not just with major manufacturers such as Cooke, but also bring you the latest news from the show floor from smaller and more quirky manufacturers of lenses, cameras, and accessories.
To learn more about Cooke and their exquisite lenses, head over to their website here.
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