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The Cooke Look for less Cooke Optics has launched its most affordable lenses ever, with the SP3 prime series for full-frame mirrorless cameras bringing a cinematic look to the videography market. with the trademark dimensionality and contrast performance that renders faces with remarkable skin tone and character, this is the trademark ‘Cooke Look’. They also feature specialised cinematic optical coatings that ensure control of flare. Cooke CEO Tim Pugh said: “The
The SP3s are Cooke’s lightest lenses, weighing in at between 500g/1.10lb and 690g/1.52lb including lens mount, making them practical for gimbals and drones. The lenses feature a dual focus scale in metric and imperial markings, and the focus and iris mechanics are consistent to allow for fast lens changes while maintaining focus and iris motor positions. Each has a nine- bladed iris for smooth bokeh. The SP3 range costs £3250/$4500 for a single lens and £15,400/$21,375 for the complete set of five in a heavy-duty case. Cooke lenses have been used since the birth of cinema and are still the most sought-after glass, as cinematographers love the unique aesthetic. These SP3 full- frame primes offer outstanding definition and resolution yet feature fall-off towards the edges of frame, which is a key factor in the famous cinematic look achieved by the legendary Speed Panchros. Together
British-based Cooke’s SP3 is based on its Speed Panchro, one of the most influential lenses in film history, with a design that’s optimised optically and mechanically to retain the legendary ‘Cooke Look’. This T2.4 collection features five focal lengths, a choice of user-changeable mounts and is small and lightweight, yet with a solid construction built to last. The range has 25, 32, 50, 75 and 100mm focal lengths, which each come with Sony E-mount installed, while Canon RF mounts will be available soon. Early purchasers can get a set of RF mounts at no extra cost. L-Mount is available at launch as an accessory part and Leica M-Mount will also be introduced next year.
imaging market has long been viewed as ‘videography’ and ‘cinematography’, with associated differences particularly evident in budgets and hardware. These boundaries are now blurring with massive improvements in the quality of mid-market camera performance. Consequently, the creative optical possibilities in this area are widening. This democratisation means we can offer truly cinematic glass to the pro- video market at an accessible price point and with camera mount flexibility.” Recent productions The Batman , Little Women and The Irishman all used Cookes. cookeoptics.com
SIGMA HAS THE X FACTOR Indie lens maker Sigma has revealed two lenses from its Contemporary range to fit Fujifilm X Mount: the 100- 400mm f/5-6.3 DG DN OS telephoto zoom for £900/ $949 and 23mm f/1.4 DC DN prime at £450/$549. Both have been in Sony E and Leica L-Mount for some time, but the X Mounts do differ. The telephoto zoom offers an equivalent focal range of Due to differences in camera software between X Mount and full-frame Sony E-mount or Leica L-Mount systems, the AF/MF switch and AF-L button are replaced with an AF function setting switch and an AF function button. The switch changes the function button between AF and AF-L modes. The 23mm prime has 13
SAFARI, SO GOOD These Sigma X Mount optics are ideal for low light or distant subjects
elements in ten groups, and is the fourth in Sigma’s APS-C Contemporary series, joining the 16mm, 30mm and 56mm versions – which all have fast f/1.4 apertures. sigma-imaging-uk.com
150-600mm on APS-C Fujifilm cameras. And the optimisation for an APS-C sensor means that image stabilisation has been increased from four to five stops.
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