GEAR CINEMA GLASS
COOKE
cameras. All have an aperture range of T2.4-16 and are small and lightweight compared to other Cookes, yet have a solid construction that’s built to last. The SP3s are Cooke’s lightest lenses, weighing in at between 500g/1.10lb and 690g/1.52lb including the lens mount, making them practical for use on gimbals and drones. All the lenses have matching 0.8M geared rings for focus and iris control, and the shortest four focal lengths are almost the same size, but not identical. The 100mm version is physically longer, but the consistent control ring placement makes it fast to change lenses when using follow-focus systems. cookeoptics.com
If Arri is the go-to lens for many Hollywood blockbusters, then British boutique brand Cooke is top of the list for creative cinematographers who want the unique Cooke Look that offers incredible quality and an optical style all of its own. Spanning Laurel and Hardy , The Wizard of Oz , Breaking Bad , Game of Thrones , Obi- Wan Kenobi , The Umbrella Academy and Chernobyl , Cooke lenses have certainly delivered. The brand’s huge range of cine lenses bring a more filmic look to super-sharp digital cameras. The classic Cooke lens set is the Panchro/i Classic Full Frame, in focal lengths of 18mm through to 152mm – a modern take on the brand’s classic lenses.
Cooke Optics recently launched the SP3 prime series for full-frame mirrorless cameras, bringing a more cinematic look to the videography market. Based on the Speed Panchro, the SP3s have a new design optimised optically and mechanically to retain the legendary look. The SP3 range includes 18, 25, 32, 50, 75 and 100mm focal lengths, and comes with Sony E-mount installed. Early purchasers can even get a set of RF mounts at no extra cost. Leica L-Mount will be available as an accessory part at launch, and the M-Mount will be introduced soon. A set of five is £18,480/$21,375 and comes in a heavy-duty carry case with shims to get a precise fit on E-mount
“Based on the Speed Panchro, the SP3s have a new design optimised optically and mechanically to retain the legendary look”
SAMYANG
Samyang has many different lens lines, from high-end premium cine primes to more affordable ones, based on its stills camera optics and even AF options. There are four different ranges of full-frame, manual focus cinema lenses ideal for video. The most affordable is the VDSLR MK2 range, available in 14mm T3.1, 24, 35, 50 and 85mm T1.5 and 135mm T2.2. These new Mark II versions have improved weather sealing, focal lengths on both sides, a new design and nine aperture blades. They’re available to purchase individually, but also in a set of five or six – with or without the 135mm. Moving up in terms of price and quality, the Xeen range is a set of relatively large cine primes suitable for 8K. The series includes 14mm T3.1, 16mm T2.6, 20mm T1.9, 24, 35, 50 and 85mm T1.5 and 135mm T2.2. All built with a consistent size and optical performance, they look similar to the Zeiss CP.2 range, which means they’re relatively large. A smaller, lighter set of Xeen primes – called the CF range – are made with carbon-fibre composite in the lens barrel. These are more compact and have a 95mm front section to fit
a wider selection of matte boxes and new coatings to improve image quality. These are available in 16mm T2.6 and 24, 35, 50 and 85mm T1.5 sizes. Samyang’s high-end range is Xeen Premium, which includes the Anamorphic 50mm T2.3 and Xeen Meister in 35, 50 and 85mm T1.3 options designed for high-end cinematography using Sony E, Canon EF and PL mounts. lksamyang.com
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