Thread: Cook Anamorphic Lenses & Red S8K Helium Camera

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  1. #201  
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    Imagine! An 8K world, were most of the Home Televisions are 8K, which is actually on the Horizon, now that 8k has shown it face at CES in Las Vegas. That’s how it begins. But you have to go back to the PRESENT. Why, well because that’s where the Movies are made. The cameras must evolved to the challenge of being able to capture 10K to 16K; “what did you say?”

    That’s right! Go over to 8K. But how? Well that’s what NAB 2019 or maybe the landmark 2020 are able to deliver. Japan will broadcast the 2020 Olympics in 8K. The writing is on the wall, check the wall. You want to down-sample to 8K for a better picture, you have to adjust Aspect Ratio depending on the lenses, and you have to allow for changing NORMS. You need all that and more. No more DCI at 2K, then go to whatever resolution for distribution. Theaters cannot let HOME TELEVISION take over the resolution supremacy wars of the “Giant Screen”, then the battle will be lost. HOME TELEVISION will soon take over the SIZE Space, soon 82 inch to 120 inch screen will rule the market place. So what are giant World Theatrical screens to-do?

    It may be the year we stop talking about FILM as a reference, like 35 mm or 65 mm turned every-way that makes your day. Digital Cinema will mark a new reference point beyond 8K acquisition. Not one of us can reliably predict which way it will go, just saying; it will definitely take a turn for the FUTURE. The future is just 2019 and 2020, if you don’t plan to be around for those date, well, my you RIP. It might include the various forms that Red has announced such as the Red 8K VV, Gemini 5K, the Helium 8K, or something we haven’t hear off yet. They may come in the Variable sensor Size Flavor, who knows, but they will come, stay tune for the FUTURE, it not that far away.

    The Motion Picture Industry is a slow moving MACHINE, but it DOES move nonetheless. There is an interesting discussion hosted by Phil Holland at RED DISCUSSION; http://www.reduser.net/forum/showthr...ES-2019-Report

    Humberto Rivera
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  2. #202  
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    Cooke Anamorphic/i Full Frame Plus prime lenses at a Duclos Lenses Instagram post.

    https://www.instagram.com/p/BtMeJldFllE/

    “Cinematographers love the bokeh and the kicked-up flare that they get with the Anamorphic/i SF zoom lenses - this additional character, combined with the warmth of the Cooke Look, gives yet another option for storytelling. With many cinematographers asking us to add this ‘special flair’ to the family, we were happy to oblige.” - Les Zellan

    Humberto Rivera
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  3. #203  
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    Cooke presents global debut of Anamorphic/i Full Frame Plus SF lens at BSC Expo 2019

    https://www.cookeoptics.com/u/news.h...-bsc-expo-2019

    “Leicester, UK – 30 January 2019 – Cooke Optics is excited to announce that at BSC Expo 2019 it will present not only a standard Anamorphic/i Full Frame Plus lens, but also - for the first time anywhere – an Anamorphic/i Full Frame Plus lens SF lens. The two 50mm lenses will be demonstrated on Stand 338 at BSC Expo, taking place at Battersea Evolution, London on 1-2 February 2019. The new Anamorphic/i Full Frame Plus range has been designed to meet the growing appetite for large format production, while offering the popular anamorphic characteristics including flare and oval bokeh. When the SF ‘Special Flair’ coating is applied, it enables an exaggerated flare that gives yet more choice to cinematographers.”

    Humberto Rivera
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  4. #204  
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    Here is the Lens Description for the Cooke Anamorphic/i 1.8x Full Frame Plus; from Film & Digital Times Page 37

    http://www.fdtimes.com/pdfs/free_pre...b2019-150m.pdf

    Anamorphic/i 1.8x Full Frame Plus

    Cooke Optics presents their Anamorphic/i Full Frame Plus series of lenses at the BSC Expo in Battersea Evolution, London on February 1 and 2, 2019. Stand 338.

    The Cooke Anamorphic/i 1.8x Full Frame Plus lenses come at the right time. Cinematographers are showing an increasingly ravenous appetite to fill as much of the Full Frame as possible. These new lenses provide archetypal anamorphic characteristics: pleasing skin tones, an almost 3-dimensional look, flare, oval bokeh.

    For exaggerated flares, the set will be available with SF “Special Flair” coating. The 50mm is the first lens to be shown. The first core sets are planned to deliver in April: 40mm, 50mm, 75mm and 100mm; the remaining three lenses will follow later in 2019.

    The image circle covers the Full Frame 36x24 mm sensor area. The anamorphic squeeze is 1.8x. So, when covering the full 24mm height of the sensor and 90% of the width, the anamorphic image desqueezes to a 2.39:1 aspect ratio. If you “expose” the full width of the 1.5:1 (3:2) sensor, the desqueezed aspect ratio is 2.7:1.

    The Anamorphic/i Full Frame Plus series comes with Cooke /i Technology lens metadata.

    Cooke /i3

    Cooke also introduces /i3 (/i Cubed), the latest version of its /i Technology metadata system. The /i3 technology provides distortion mapping for each individual lens. It is not a theoretical measurement of all lenses of a particular focal length, but of the specific lens in use. New deliveries of S4/i, 5/i, S7/i and Panchro/i Classic lenses now include /i3 inside. cookeoptics.com

    Humberto Rivera
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  5. #205  
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    Academy reveals which Oscar categories won't be televised live

    Ampas announces that cinematography and three other awards will be relegated to commercial breaks

    WHAT A STUPID IDEA!

    https://www.theguardian.com/film/201...televised-live

    What a shame, they are looking for what they think is star power, but they are in a cyclone moving toward the bottom of the abyss; mediocrity is ruling the day.

    “The Academy of Motion Picture Arts and Sciences (Ampas) has announced which Oscar presentations will not be televised live during its awards ceremony in 24 February. In a letter to the Academy’s members, the organisation’s president, John Bailey, said that the awards for cinematography, editing, live action short, and makeup and hair will be handed out during commercial breaks in the show, and that the acceptance speeches for the awards will be aired later in the broadcast. Bailey said the presentations of the four awards will live stream on the Oscars website, and different categories would be selected for relegation in subsequent years.”

    "The announcement triggered a wave of negative reaction, with New York Times critic Manohla Dargis calling it “insulting and wrong” and former Village Voice critic Bilge Ebiri writing: “I am fucking furious … what a stupid decision.” Both pointed out that Bailey made his name in the industry as a cinematographer, with credits including American Gigolo, Ordinary People and Groundhog Day."

    https://twitter.com/ManohlaDargis/st...03651217985538

    “Bailey was inspired to become a cinematographer by Vittorio Storaro. His credits include "Mishima: A Life in Four Chapters" and "Groundhog Day," and he writes a blog for the American Society of Cinematographers. This decision is insulting and wrong. @TheAcademy”


    Humberto Rivera
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  6. #206  
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    https://www.theguardian.com/film/201...n-tv-ad-breaks

    “However, entertainment industry figures have been reacting with dismay. Actor Russell Crowe called it “a fundamentally stupid decision … just too fucking dumb for words”, while Exorcist director William Friedkin described it as “an insult to award two of the most essential qualities of film-making”. Roma director Alfonso Cuarón, who is personally nominated for best cinematography as well as best director, best original screenplay and best picture, pointedly wrote on Twitter that: “No one single film has ever existed without CINEMAtography and without editing”, while Guillermo del Toro, winner of the best director Oscar in 2018 for The Shape of Water, wrote: “I would not presume to suggest what categories should occur during commercials on Oscars night, but, please: Cinematography & Editing are at the very heart of our craft.”

    Humberto Rivera
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  7. #207  
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    https://variety.com/2019/film/news/o...hy-1203137546/

    "Deschanel is referencing the Academy’s annual Scientific and Technical Awards, held two weeks before the Oscars and typically hosted by a celebrity, which honors technical achievement in film. The main Oscars broadcast only shows a highlight reel from that night. Relegating a job as pivotal to filmmaking as that of the cinematographer to commercial breaks undermines the entire craft, argues Deschanel. “Cinematography predates writing, directing, editing, music, and sound,” he said. “Movies started with a guy cranking a camera. A cinematographer!”

    Deschanel has been nominated six times stretching back to 1983’s “The Right Stuff,” but has yet to win. If he were to finally hear his name called this year, the moment would be akin to longtime category bridesmaid Roger Deakins finally winning last year for “Blade Runner 2049.” Deakins received a standing ovation and his victory was seen by many as one of the highlights of last year’s telecast.

    This blowback isn’t the only firestorm that the Academy has faced during an Oscar season riddled with missteps, controversies, and self-inflicted wounds. It’s a litany of disasters that ranges from aborted plans to introduce a popular film category, an abandoned move to prevent some best song nominees from performing during the telecast, and a misbegotten decision to tap Kevin Hart to host the broadcast. Hart later stepped down as emcee after his past homophobic statements and jokes resurfaced.

    The decision to give short shrift to certain crafts categories appears to have been wildly unpopular with many prominent film industry figures. Alfonso Cuarón, himself a multiple-nominee for producing, directing, writing and cinematography for “Roma,” fired off a tweet criticizing the Academy’s decision. “In the history of CINEMA, masterpieces have existed without sound, without color, without a story, without actors and without music. No one single film has ever existed without CINEMAtography and without editing,” wrote Cuarón.”

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  8. #208  
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    https://www.fdtimes.com/2019/02/15/the-show-will-go-on/

    The Academy’s Board of Governors did the right thing today, issuing this statement: “The Academy has heard the feedback from its membership regarding the Oscar presentation of four awards – Cinematography, Film Editing, Live Action Short, and Makeup and Hairstyling. All Academy Awards will be presented without edits, in our traditional format. We look forward to Oscar Sunday, February 24.”

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  9. #209  
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    https://www.cookeoptics.com/u/news.h...=nab-2019-news

    Cooke Optics rounds out S7/i, Panchro/i Classic and Anamorphic/i Full Frame Plus ranges, plus /i3, at NAB 2019

    "The new Anamorphic/i Full Frame Plus range has been designed to meet the growing appetite for large format production, while offering the popular anamorphic characteristics including flare and oval bokeh. The 40mm, 50mm, 75mm and 100mm focal lengths are in production, scheduled to start shipping in limited quantities from April 2019, and will be available for demonstration on Stand C6333. The additional lenses in the full range – 32mm, 135mm and 180mm as well as a surprise or two - should be shipping by the end of the year. This range is also available with Cooke’s SF ‘Special Flair’ coating, which enables an exaggerated flare that gives yet more choice to cinematographers."

    “The manufacturing team in our Leicester factory continues to work flat out to round out these nascent lens ranges, which are all made entirely by hand,” said Les Zellan, Chairman, Cooke Optics. “With nine lens ranges in the Cooke family, we have certainly set ourselves a challenge to meet the ever increasing demand, but we are proud to offer cinematographers such a wide choice of looks that help them tell their stories.”


    Humberto Rivera
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  10. #210  
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    I was thinking, now that everyone seems to be relatively comfortable with 4K cameras because of Companies like NETFLIX, Apple, Amazon, Hulu, the cameras are everywhere, however 8K televisions is on the horizon, so now is the time to get on board with 10k to 16k cameras, always remember, the challenge is always in the PRESENT, that’s what counts for tomorrow’s “Digital Moving Images”. Now as far as the imagines, if you could take “Two Helium Sensors” and combine them into a Full Frame 36 mm X 24 mm Image Circle Ø 43.3 mm, put them on their sides together, then you can achieve a combine resolution of 10k to 16 K (or so). That would be a nice fit for the Cooke Anamorphic Lenses or any other brand. This is me, just taking my extrapolating thinking to the next level, in my humble opinion.

    As the world advances toward the future of 8K televisions, with smaller and smaller photographic devices, I can see the sensor size getting smaller and smaller in terms of in its pixel size (μm). The Red Digital Camera has an “Overall Architecture Structure” that works very well for the forcible future, its brain size can continue as-is. So the smaller the pixels, and thus the actual size of the sensor can increase in size, the number of pixels that fit the current camera size, thus you easily increase the resolution beyond 8k. Helium is already a Red Product functioning in the commercial marketplace, just make-the sensor bigger in size (Helium) and electronically more efficient, just saying.

    You can then comfortably downsize the image from 10K or 16k, to get 8k for distribution in any medium, such as theatrical, television, or whatever, with the assurance of the nice things that happens when you reduce the image from 10k or 16k down to 8K. For the foreseeable present you can continue with your current strategy, knowing that you have the future covered, with whatever it may be. There is the problem of theatrical distribution, the bulk of the current projectors worldwide are 2K, which has to change if theatrical is going to keep up with television distribution, there is an explosion of major proportions up ahead, watch out.

    The electronics need to improve in its efficiency, but not its purpose. Their function is known, only their efficiency need to improve, as is the normal evolution of electronic devices continues. The sensor can maintain their actual image size as the pixels can increase to fit within their size of Ø 46.31 mm for Cooke S7/i Full Frame Plus Primes Spherical Lenses, or Ø 43.3 for the Anamorphic/i Full Frame Plus prime lenses, just to highlight one example, it could be any brand of Full Frame Lens. All exponentially higher that 8K, somewhere in between 10k to 16K. Just thinking! All within the realm of the possible. There is always a symbiotic balance between “Optical and Sensor” so we can get to that sweet spot, for a better cinematic image.

    https://en.wikipedia.org/wiki/Image_sensor_format
    https://en.wikipedia.org/wiki/Aperture#In_photography

    With the eventual arrival of Red’s Variable Sensor Size Camera, it’s only logical that the current three sensors in Red’s lineup; the (1) MONSTRO 8K Vista Vision Sensor, (2) Helium Sensor, and (3) Gemini Sensors, can be further be manipulate to fit within the current camera architecture size of Ø 46.31 Spherical or the expanded Ø 43.3 for Anamorphic (36 mm X 24 mm), its only logical. Who knows what surprise Red has waiting in the wings? In reality it can be anything currently in its lineup or yet to be disclose.

    Humberto Rivera
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