INDIE LENS SPECIAL
COOKE VS SONY
We mixed a set of Cooke SP3 lenses with a Sony 70-200mm f/2.8 G Master OSS II on a shoot, to see if the magic ‘Cooke Look’ could be identified. We lit the shoot with a mix of COB lights and four tube lights. The Sony mirrorless cameras were each shot in 4K All-I 4:2:2 10-bit with white-balance set manually to 5000K using S-Log3, S-Cinema Gamut. The files were processed in Final Cut Pro X with a standard Sony LUT to convert them to Rec. 709. Obviously, the shots were taken from slightly different angles, but it’s clear to see the Cooke version has a more organic look with obvious flare from one of the tube lights just out of the frame. The Sony has a more contrasty look that just seems more ‘digital video’. Of course, one advantage of a Sony AF lens is that it was just left on a tripod with wide AF and eye detection mode on, so the shot was always sharp on the subject’s eyes. The Cooke is all manual focus and had to be constantly monitored, for which we used an Atomos Ninja V. cookeoptics.com
THE COOKE LOOK
THE SONY STYLE
“Just about the only issue with the Cookes is that they may be cheaper than ever, but are still not what anyone would call inexpensive”
focus systems that’s mechanically controlled, cinema lenses are designed to minimise focus breathing to avoid any change in angle of view when focusing; the Cookes are superb at this. Racking focus is not a problem. Just about the only issue with the Cookes is that they may be cheaper than ever, but are still not what anyone would call inexpensive. And with only five in the range, from 25mm to 100mm, there is nothing even approaching super-wide or a proper telephoto. Perhaps these will be next on the roadmap of launches, depending on how successful the SP3s eventually prove. With amazing performance that works for myriad uses, not to mention the user- interchangeable lens mount and unique Cooke look so many yearn for, you can guarantee these optics will be in high demand. And rightly so.
MATCHED SET Buy the full set of SP3 lenses and they come in a hard case with shims for E-mount, plus cutaways to accept the forthcoming RF mount adapters, which make the optics ideal for the latest generation of Red cameras
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