Famed lens rehousing organization, True Lens Service, based in the UK has had great success re-purposing vintage cinema lenses for a modern, demanding production environment. Their mechanical design and craftsmanship is second to none which makes for some very desirable combinations of old glass in new housings. In order to keep their lenses working diligently and to support their customers who live and work in the U.S, TLS has chosen Duclos Lenses to manage the repair and maintenance of their lenses to the highest standards.Continue reading “TLS Partners with Duclos Lenses to Support U.S. Customers”
As of April 1st 2019, ZGC is now Cooke Americas (and no it is not an April Fool’s joke). Nothing much will change apart from the name. Same great people, products, and authorized service. The switch is another part of Cooke’s ongoing commitment to worldwide service and support.Continue reading “Cooke Lands in America”
Cooke is keeping up with the trend by adding large format anamorphic lenses to its esteemed lineup.
After enthusiastic reception for the Cooke S7/i’s, this is certainly the right step forward.
First focal lengths to come will be 40mm, 50mm, 75mm, and 100mm, followed by 32mm, 135mm, and 180mm – all T2.3 with 110mm fronts. Continue reading “Something New Is Cooke-ing…”
Yep. We did it again. Last year the folks at ShareGrid, Old Fast Glass, a brilliant, talented crew, and myself came together to test a wide variety of vintage lenses to give the cinematography world a sort of sampling, flight, if you will, of the various vintage lenses and what sort of characteristics you can expect with when using them. It’s been shared thousands of times and utilized in who knows how many pre-production meetings to determine the visual aesthetics as it pertains to lenses for a specific project.
So what’s next… ANAMORPHIC! The subject that baffles so many with a shroud of mystery. Optics designed to provide a wider field of view when bound by a specific format, fashioned by unsung geniuses from around the world – some a shining beacon of optical engineering superiority, and others a trophy of intentional flaw for the sake of introducing artifacts and characteristics that, to the average viewer, carries a subconscious nostalgia, lending honesty and legitimacy. But most importantly… They’re beautiful! Continue reading “The Ultimate Anamorphic Lens Test”
It’s no surprise that Cooke is joining the Full Frame revolution. They’ve cornered the market on stylized, romantic cinema glass and now they’re taking aim at the Vista Vision crowd to ensure the Cooke Look is carried over to just about any format out there. The new S7/i primes will cover an image circle up to 46.31mm which is slightly larger than standard Full Frame (hence the “PLUS” in the product name). Just ahead of NAB 2017, let’s take a look at the next big addition to the Vista Vision lens market from Cooke. Continue reading “S7/i Full Frame Plus: Cooke’s Answer to Vista Vision”
A popular topic of discussion these days is whether or not certain lenses are worth their huge price tags. Moreover is there a justified correlation between a lens’ price and how “good” it is. It’s an apt time to continue this conversation since there are more lenses to choose from than ever. Also, there are some seriously high-performing cine lenses at price points that are within reach of so many filmmakers. The number of “affordable,” full frame, super speed, cinema lenses alone is incredible (Canon CN-E, Sigma Cine, Tokina Vista, Zeiss CP.2, Rokinon XEEN). It’s an exciting time to be a DP. It can also be an overwhelming time to be a DP especially if you are an aspiring cinematographer who is just scratching the surface of all the lens options out there. Continue reading “How do we decide the value of a lens?”
When Cooke advertises their lenses as “hand built in the UK”, they’re not joking. As someone who’s been lucky enough to experience the Cooke factory first-hand, I can confirm that every single lens is hand built by skilled technicians. This video shot by Florin Gabor back in 2013 takes us on a nice tour through the factory and shows a glimpse of each step of the lens manufacturing process. Continue reading “Ever Wonder How Cooke Lenses Are Made?”
Over the course of two days, in a studio in Burbank, California, a band of self-proclaimed “lens geeks” set out to complete the ultimate vintage cinema lens test. The project first began as a collaboration between ShareGrid’s Brent Barbano, and Duclos Lenses’ own Matthew Duclos. Initially, Barbano and Duclos had been planning to complete a rather small-scale lens test with the industry’s most popular and widely used vintage lenses. However, upon approaching director and cinematographer Mark Lafleur to ask him to participate, they discovered that he too was getting ready to carry out his own vintage lens test. The two sides decided to join forces, and before long a whole team was assembled. With Lafleur and Barbano as Directors and Executive Producers, and Duclos as Lens Consultant, Kyle Stryker was brought on as Director of Photography. The team also came to include Camera Assistants Matthew Borek and Michelle Diaz, and Nick Ferriero as Editor. Continue reading “The Ultimate Vintage Lens Test”
Vintage lenses have been a major trend in the motion picture industry and Cooke is in a prime position to take advantage of their unrivaled heritage. They’ve just announced they’ll be reviving the classic Cooke Speed Panchro line of prime lenses that were first made in the 20’s and ran all the way through the 60’s. Let’s take a look at what information is currently available from Cooke. Continue reading “Cooke Brings Back The Panchro Primes”
Here’s a few bits from around the internet, just in case you missed them. Enjoy! Continue reading “Weekly News Roundup #7”
NAB is officially over and we have a ton of news from throughout the show at the links below. Now back to our regular schedule. Start your monday off with a bit of light reading from TheCineLens.com. Continue reading “Weekly News Roundup #5”
And here we are – our last day on the NAB 2016 show floor. We scoped out all the major lens manufacturers’ new gear, go out hands on some brand new tech and soon-to-be-released models. We spoke with some of our favorite lens makers to see what’s coming down the pipe. Overall, we’re less than enthused… Here’s our closing thoughts on the state of the motion picture lens industry as of NAB 2016. Continue reading “NAB 2016 Recap, Final”
NAB has officially begun. It looks like just about every lens manufacturer couldn’t keep it in their pants and dropped their news ahead of the actual show, with a few exceptions. This post is a general roundup up the news announced as of Sunday night before the show. We’ll be posting a daily wrap-up with a ton of photos and additional news from the show floor so be sure to subscribe and check back soon. If there’s anything we missed that you found interesting, send a tweet to @MQDuclos and we’ll make him run across the expo to check it out ;-). Let’s get to it! We’ve broken the product announcements up by manufacturer in alphabetical order. Continue reading “NAB 2016 Preview”
Did you enjoy our lens news roundup from last week? Good… We’re going to keep it going. Here you’ll find little snippets of news that we found interesting throughout the inter-webs. On to the news! Continue reading “Weekly News Roundup #2”
Back in April, at NAB, Cooke teased us all with a silhouette of a new zoom lens – the first zoom from the manufacturer since the workhorse 18-100mm, or if you recall the 15-40mm CXX from 2004… Then at Cine Gear earlier this year Cooke gave us a few more hints including the fact that the lens will be anamorphic. Continue reading “Cooke Unveils Details of New Anamorphic Zoom”