Cooke Optics has re-entered the large-format cinema scene in a big way, launching the Panchro 65/i series, specifically crafted for true 65mm digital sensors. The series harks back to Cooke’s early commitment to large format in the 1950s, when it produced lenses for both VistaVision and 65mm film formats, seen in films like Vertigo (1958) and To Catch a Thief (1955). Now, with 65mm imaging back on the digital radar, Cooke’s Panchro 65/i aims to bring the magic of its classic Speed Panchros to today’s larger format.
A True 65mm Cinema Lens in an Era of “Full Frame” Confusion
Cooke’s Panchro 65/i series arrives amidst a bit of a branding misstep in the industry, where “large format” is being used loosely. Arri’s decision to label its 35mm Full Frame Alexa LF sensor as “Large Format” has caused confusion, particularly as it’s technically smaller than the 65mm sensors the new Panchro 65/i lenses are built to accommodate. Freshman filmmakers may assume that all large-format lenses can cover any “large” sensor, but Cooke’s Panchro 65/i series truly covers a 65mm cinema sensor—a larger canvas that demands a correspondingly sophisticated lens to bring out the full potential of high-resolution capture. Cooke’s decision to pursue 65mm optics is a reminder of what “large format” truly means in cinema.
The Panchro 65/i: Classic Character with Modern Precision
The Panchro 65/i series, comprised of six focal lengths—30mm, 40mm, 55mm, 75mm, 100mm, and 152mm—reinterprets Cooke’s legendary Speed Panchro look for modern 65mm cinematography. Those familiar with the vintage Cooke Speed Panchros or the newer Panchro/i Classic Primes will be fairly familiar with the character associated with the Panchro name. Each lens is carefully crafted to maintain the distinctive “Cooke Look”: natural aberrations add subtle character and depth, while Cooke’s optical design delivers smooth foreground-background separation and faithful rendering of skin tones. T-stops range from T2.5 to T2.9, offering enough speed to capture delicate light nuances, yet stopping down to T22 for precision control. Lightweight for ease on set, these lenses weigh in between 1.8kg and 2.3kg across the set.
The Panchro 65/i series also integrates Cooke’s latest /i Technology, providing precise real-time lens data to the camera, including focus distance, aperture, and depth of field information. This level of metadata compatibility makes the Panchro 65/i not only versatile on set but also invaluable for visual effects and complex post-production workflows.
Ideal Cameras for the Panchro 65/i
While Cooke neglected to confirm any specifics about lens mounts, it’s safe to assume these new lenses will utilize Arri’s LPL mount system. But this remains to be seen and will certainly have an effect on adoption since the LPL mount is still not what I would consider a widely accepted standard. Continuing our speculation, Cooke’s true 65mm series could benefit from pairing with several of the largest format digital cameras available:
- Arri Alexa 65: This flagship camera remains a top option for large-format production, delivering an expansive canvas for Cooke’s unique visual characteristics. The Panchro 65/i’s coverage and optical qualities pair ideally with the Alexa 65’s detailed 6.5K resolution, giving filmmakers both latitude and nuanced control.
- Blackmagic URSA Cine 17K 65: Blackmagic’s high-resolution giant boasts a staggering 17K resolution on a 65mm sensor. The Panchro 65/i series, with its gentle color render and naturalistic aberrations, promises to soften some of that razor-sharp detail without compromising image quality, ideal for filmmakers looking to add emotional depth to technically flawless footage.
- Fujifilm GFX Eterna: Recently announced, Fujifilm’s GFX Eterna marks the brand’s first entry into large-format cine production. Although technically medium format, this camera’s large sensor still provides a platform to showcase Cooke’s look for fashion and commercial cinematography, particularly when fidelity in skin tones and textures is essential.
The Future of Large-Format Cinematography
Cooke’s Panchro 65/i series signals a significant step forward, offering true 65mm format coverage for filmmakers seeking authentic large-format optics that respect traditional cinematic standards. With a release expected in 2025, the Panchro 65/i lenses bring the clarity and dimensionality of Cooke’s lenses to the forefront of today’s digital cinema landscape, filling the gaps left by misleading “full-frame” labels and underscoring what true large-format cinematography can—and should—look like.
If you’re interested in learning more about the new Cooke Panchro 65/i Primes or want to get a jump start on ordering, make sure that you’re subscribed to the Duclos Lenses Mailing List.