Thread: Cook Anamorphic Lenses & Red S8K Helium Camera

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  1. #121  
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    The “Question” becomes do I go to the “Theater” or do I see a new “Motion Picture” at “Home” on a Large Screen TV on a Blu-ray DVD or a Subscription Service; 2k or 4K (possibly 8K) with all the comforts of home including the ability to pause the “Picture” to go to the bathroom or get some more pop-corn, or whatever? It’s got to be a question that the “Movie Studios” and “Distributors” around the World, they have to be asking themselves right now, especially in view of rising prices at the Box Office, and ancillary cost, such as parking, babysitters, and waiting in line to get into the Theater or whatever. Home Screens of 55 inches or 65 inches are common, or bigger are getting to that price point that are accessible to everyone.

    We’re nearly One Fifth of the way into the “Twenty First Century”, the question becomes more, and more valid as we edged our way till the year 2020. How will the Box Office Behave? Who knows, there might be an “8K Monitor” in the wings at good price, think of Japan and Russia and their sporting events coming-on, which will definitely be a “Theater Killer”? So the “Red Digital Cinema Company” is doing the right thing by getting into 8K or possibly even more resolution, while the Arri folks continue to be a few paces behind. If you don’t think resolution is important, look at a Betamax tape of a three decade ago, and see how it looks today. That what is always going on, one company looks back to its legacy, and the other looks forward to what hasn’t been declared yet.

    If you don’t belief me, look at https://www.youtube.com/watch?v=rI24ZI0FXnE one of Ten Films Heather Howell, Hwei Chu Meng, and I shot back in 1981, they were shot on 16 mm Color Negative, transferred to video at FotoKem with an enhancer Faroudja Box on a “Three Quarter Inch VBU Tape Cassette”, and sync and edited to a One Inch Tape. All shot with an Éclair ACL, two hundred foot magazines, a tiny Nagra SN and a diverse combination of wireless microphones for the sound. That was the most Cost Effective way for us to shoot back then. “Luk Shek Kee” or “Keye Luke” spoke over the opening, it was not dead space with only pictures; Kee Luke was a respected Chinese-born American actor and the Host of our series. That was over 35 years ago, the Ten Films aired on PBS. https://en.wikipedia.org/wiki/Keye_Luke

    Netflix, Hulu, Amazon, and others continue to spread and grow around the World, they continue to finance their own “Pictures”, they continue to get into Film Festival, and they can easily reach an ever growing Global audience for publicity, and you can watch it at home when you WANT, not when its playing at a Particular Time in the Theater near you. Times are slowly changing, political borders seem to matter less and less. So we must be ready for tomorrow; TODAY, with at least 8K, it’s just a matter of time before it arrives to the Home, and its moving rather fast. Time flies if you ask me, I’m 75 years old!

    http://www.hollywoodreporter.com/hea...er-2020-996555 “'Avatar' Sequels Get Official Release Dates, Beginning in December 2020” the release for all the Avatars has been announced, they are: “Dec. 18, 2020; Dec. 17, 2021; Dec. 20, 2024; and Dec. 19, 2025. So far, Avatar has those dates to itself, although Star Wars saga films are becoming a staple at Christmastime every other year”.

    What will be the predominately means of watching a “Motion Picture” be, a “Theater” with its Big Screen, or the “Home” with its yet to be announced Big Screen, good question, the Relative Image Size is the same both audiences. Will China become the World Largest Market by 2020, 2025, those are question that must be reflected today in private. I’m sure conversation are going on right now. I see white papers written by a retrenching Arri with its head in the sand as they continue to shoot 2K (or 3.7K) that does not reflect that fact, as they continue to live off its legacy. Not too many “Motion Pictures” are shot with the Arri 65, of course some are, but not as many as are shot with the “Red 8K Camera”. James Cameron has to think of 2020 and beyond. It’s really a combination of “Camera and Optics” one complements the other. In 2025 I’ll be around 83 Years Young, knock on wood, I hope to be around for the last Avatar Picture, and beyond!

    I don’t really know what the Camera Technology will be at that time, but I hope Cooke and Red continue to complement each other, one has the Look, and the universal/i, and the other has the Charisma to continue to Innovate on their Patent, good pair, there might be a cross over in thinking. The Motion Picture will always be the King of Entertainment. Cooke might even think of evolving their new lens into a “S7/i Anamorphic Squeeze 1.3x Expansion”, that may work very nicely with the current aspect ratio of the S7/i. The data is in their Cooke computers, they can keep the same 46.31 Image circle with the addition of a Anamorphic Squeeze 1.3x Expansion, and they will catch up to the necessity of the moment when they think the time is right, is just a matter of time, never say never, have no fear, computers are growing exponentially.

    Humberto Rivera
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  2. #122  
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    After Spending a few days on the Internet, Looking at everything available or declared at NAB 2017 by different Lenses Companies, well the choices were rather dim, but one thing STUCK OUT. The Cooke S7/i Lenses appeared to be the best out there. Most companies came op shot of the 46.31 Image Circle, but Cooke exceeded it. Their T2.0 Stop Speed is very nice, and unique the Cooke Look” was the best among the Full Frame Lenses.

    Les Zellan (Chairman), recently said, (I’m paraphrasing); “We always prided outsells at Cooke and Company to listen to the Industry instead of dictating to the Industry, so instead to dictate, the Industry comes back and says we want a 21 mm lens and they are willing to put their money were the mouth is, and they are willing to gives us orders we’ll make a 27 mm or a 28 mm so we don’t care, we’ll build what they want”. Good to know! The Cooke Price is placed for the Rental Companies, but it doesn’t have to be, the Lenses don’t preclude you from buying “One or Two Sets” if you have deep-pockets. Each Cooke Lens is about $22,400 or a little more for two individual lenses cam cost more, you can always negotiate, or rent.

    Their Universal use of their (i) system will become and \i an industry Standard, no matter what you shoot on. Of Couse were taking about using them with the “Red Digital Cinema Company”, without any excuses of corner fall of, sort any such thing. The odder shoe is left to fall, maybe at Cine Gear Los Angeles, it might be the Long Awaited “Red Digital 10k or 12K Helium Camera” who know? Of Couse there are the Leica Thalia “Lenses, but they fall shot on the T-Stop, they do work on the Arri 65, but the resolution of the Arri 65 is a Problem for the ever increasing Image Size Sensor of the “Red Helium Camera”, regardless of what you say. But that’s just me! A legacy is hard to shake off, even if is not the optimal for shooting, those old guys go with something they trust, that’s life!

    Humberto Rivera
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  3. #123  
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    I don’t know if I heart right when Les Zellan was interview about the Cooke S7/i lenses https://vimeo.com/214737668 when he say (I am paraphrasing you have to hear-it for yourself; “this covers beyond their 46.31 Image Circle Sensor Size, I belief this Jarred personal camera” And of course the coalition of most companies around metadata (Cooke i technology), an inclusion by most of the camera manufacture’s, including the “Red Digital Cinema Company”.

    Humberto Rivera
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  4. #124  
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    Do you ever wonder how your local Newspaper gets the “Copy & Artwork” to make sure publicity is on your Local Newspaper prior to a film opening? When I say local I mean “Local Around the World”, for example the Local Newspaper in Costa Rica; a part of the Newspaper, a Daily insert dedicated to entertainment, it has to be planned well in advance, and I’m talking Months.

    In Costa Rica I wake up in morning and I get my paper when I go feed the dog or take the garbage out around 5:30 am, I come back up get my coffee and turn on the computer. Well “La Nacion” that’s the Newspaper, it has a section devoted to entertainment, and this past Thursday, there it was on the Front Page in the “Viva” insert, there was an article on “Guardian of the Galaxy Vol. 2” (shot on Red). Release dates may vary depending on your Country.

    The last one is from “The Guardian” in the UK. Like I said; “You Got To Be Everywhere”, in different languages, simultaneously trough out the World. http://www.boxofficemojo.com/movies/...=marvel17a.htm
    http://www.boxofficemojo.com/movies/?id=marvel17a.htm
    https://www.theguardian.com/film/201...oot-vin-diesel

    Multiply that by all the Newspapers of the “Entire Planet Earth” yes the whole World, Television, Magazines, Live Promotions, Television Commercials, Internet Connection’s and whatever else you might think off, or junkets you planned in advance, backed-it-up to get it to the different Medias, and you’re talking a LOT OF COORDINATION, for one multi-million dollar PRODUCT that must be sold during a typical 90 day window, and that’s a window in an advanced of a declining structure with a the first day on a diminishing scale from Day 1 to Day 90.

    That’s one of the ways to sell a “Motion Picture”, not an easy task, and if you fail, the first to loose are the STARS; they say they can’t make money, you can’t have too many of those, and we won’t even talk about all the money involved in the “Production & Marketing” departments. So when you go to see a “Motion Picture” think about what got you there? The Theater! Think about all the Languages for Distribution for the Planet, the kinds of all the Theaters 3D, IMAX, regular 24 FPS, the Pirating from the digital copies you send out to the World, it’s a major undertaking, in a “Multi-Billion-Dollar” Worldwide Business. This applies equally to the Movie Studios or the Independent Filmmaker. At this point Quality becomes a business lexicon.
    https://youtu.be/2WhQcK-Zaok https://youtu.be/4hdv_6gl4gk

    Humberto Rivera
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  5. #125  
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    The Godfather at New York's Tribeca Film Festival

    http://www.msn.com/en-us/movies/news...cid=spartandhp From the article; “The award-winning Coppola, who also directed "Apocalypse Now," pointed to the shaky origins of the acclaimed mob movie. When shooting began rumors swirled that Coppola would be replaced. Paramount Pictures, which produced the film, wanted neither Hollywood legend Marlon Brando -- whose performance as Vito Corleone won him an Oscar for best actor -- nor Pacino. Brando landed the role after stuffing his cheeks with cotton wool to make Don Corleone look "like a bulldog." The actor adopted a raspy whisper to portray the crime boss: "He had totally turned into the character," Coppola said. The filmmaker also recalled a question posed to him by the then- owner of Hollywood studio MGM -- how do you make a film that is successful financially and artistically? "I said, 'With risk.'"

    That’s when the Business end and the Creative Culture reach a Conflict Moment, sometimes the business end wins and the film end does not. But when the creative end is “just right”, it always win! The “Motion Picture Business” is a heartless business, when a Film is a Successes, it has many parents, but when it fails there is too much blame to go around, and people run away from it. Look what happen with “Singing In The rain” or with “2001 a Space Odyssey” they have a long tradition in Hollywood with this conflict.

    https://www.theguardian.com/film/201...te-45-years-on The Guardian had this to say; “An offer they couldn't refuse: The Godfather cast reunite, 45 years on” Debilitating studio battles. One miraculously still cat. Mooning contests between James Caan and Marlon Brando. These were the memories shared, 45 years later, on the making of The Godfather in a rare reunion of the film’s cast and director Francis Ford Coppola in New York. With the stage decorated to resemble the library of Brando’s Don Corleone, and a portrait of the actor hanging above, Coppola and cast members Al Pacino, Robert De Niro, Robert Duvall, James Caan, Diane Keaton and Talia Shire, gathered together once again on Saturday. The night at at Radio City Music Hall was organised by De Niro as the closing evening of his Tribeca Film Festival, which preceded the affair with a grand double feature of The Godfather, parts one and two.” End The Guardian

    Humberto Rivera
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  6. #126  
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    Following-up on the theme of the best “Camera Technology”, I would say with a Hi-Degree of Accuracy that the “New Cooke S7/i” Lenses are the best “Optical Lenses” for now or any job that may come in the future, to marry-up to the best “Camera Technology” (Red), giving us the best of two Worlds in terms of “Resolution and Dynamic Range”. Put Cooke’s universal i technology in the Mix with Red, and you have a winning combination that no one else can provided.

    https://www.theguardian.com/media/20...treaming-giant We’re entering into a new World of Netflix, Amazon, Hulu and all the other companies of their ilk. Netflix just announced that they have 100,000,000 subscribers World Wide. Now think about that for a moment, Countries around the World, like Costa Rica are becoming aware of this trough their local “Hi Definition Distribution Chains” or Cable TV, soon it may be 1,000,000,000,000 that’s with a “B” subscribers. That might make for a new “Business Model” we’re the cash is right on-hand, rather than going to usual suspects for a part of the action, the “Movie Studio Model”. Globalization has come to the “Movie Industry”, not in terms of “Theatrical Distribution” but of people for Distribution. The Television Signal is starving for “Band-With”, that means that in the not too distance future we will see 8K or higher Resolution in the “Home”.

    Humberto Rivera
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  7. #127  
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    Here is some nostalgia that some of you might have forgotten.

    https://www.theguardian.com/film/201...-cine-literate
    The Guardian; “And then VHS made the kind of cine-literacy I was seeking available to the masses, and transformed modern cinema; just ask ex-video store clerk Quentin Tarantino. As a medium for filmic education, it was phenomenal. Total-immersion self-education was now possible on your own schedule: you could study a film’s architecture, the dynamics of a sequence or scene, the rhythm and music of dialogue, over and over again. And then rent five more movies by the same director. The visual quality of VHS was horrible, fuzzy and panned-and-scanned, but every great director under 50 today was raised on rewind. I still have a VCR, probably the most analogue piece of tech on my whole block, obsolete second-cousin to a wind-up 78rpm record player with a horn. Rewind sounds like a tumble drier full of forks, eject is like a howitzer fired directly at one’s crotch, and the quality of my ancient remaining VHS tapes means that everything looks like garbage. She’s a clunky old gal but, no matter, I still love her like the old days. Just not enough to elope to Alaska with her.” End The Guardian Quote.

    Humberto Rivera
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  8. #128  
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    2020 will be the Era of 8K, NHK has been a major proponent of this technology for as long as I can remember, but is-it really? What about the “Red Digital Cinema Company” and all the Patents they hold? What about all the other companies that said not that long ago, 2K is “Good enough”, well time caught-up with all of them. 2020, that’s when the Japan Olympic Games will be upon-us and the World, for a Worldwide audience to watch on their Televisions be-it 720p, 1080, 4K, and even 8K mostly in Japan, or whatever, on computers, telephones, and iPads! To be ready for 8K we must test, shoot, and have everything ready to go in people’s hands around the World’s, way before it happens, that’s just the way it-is. Right now the only two 8K cameras that I know off, are both Red Cameras, at least that you can buy, TODAY.

    https://www.youtube.com/watch?v=ONqANs65BQw The “Red Digital Cinema Company” has the “Red 8K Vista Vision Camera” and has now had-it long enough for “Guardians of the Galaxy Volume 2” to be Produced with its 8K VV Cameras Sensor, and Distributed Worldwide, as a commercial “Motion Picture” that’s cleaning-up at the Box Office this week during its 90 day Theatrical Window, I personally think it will surpassed the “Billion Dollar Box Office Revenues Mark” very soon, by a long shot when it’s all said and done. With a good use of multi-cameras that where employed during the Production, which I’m big fan off.

    https://www.youtube.com/watch?v=hpWYtXtmEFQ Here is the conundrum, It’s an interesting comparison of the “Arri Alexa” and the “Red Digital 8K Vista Vision” cameras during the “Color Grading” of the “Guardians of the Galaxy Volume 2” it makes sense to me, but that’s me. Black on Black, the Blacks are truly there in “Guardians of the Galaxy Volume 2”, and of course in “Pacific Rim” as well, both shot with Red. It’s not really that you cannot afford to shoot in 35 mm Film Negative Original, and then transfer the Original Negative to some sort of video, but rather that you want to use the best technology available to you, and use-it to your favor. That of course is the REDCODE R3D Files, there is the conundrum, why just not shoot it to begin with, and be done with it.

    By that I mean; the Little Red Camera can be placed in many places that the old big Panavision 35 mm Film Cameras cannot go, you can easily use multi-cameras set-up’s, have very long shots that last at last almost an Hour, you have instant playback capabilities on-set, and the list goes on, and on as to why the “Red 8K Vista Vision Camera” or whatever may follows it in-the-future for Red can-do the best-job, that the old Panavision 35 mm Film Cameras cannot-do. I would add another factor that’s often ignored by most people, and that’s RESOLUTION, and that’s where Red has the edge on everyone else! Not to mention DYNAMIC RANGE, depending on your ISO rating. So always have better Dynamic Range, and better Resolution, so your cup will always overflows with resolution, look at any VHS tape of yesterday years and see how it compares to todays “Red 8K Vista Vision Camera” recorded digitally on a RED MINI-MAG.

    Cooke Optics just introduced the “New S7/i Lens Set”, they went far beyond the 46.31 Image Circle required by the “Red 8K VV Camera”. So where does Red go from here? It seems LOGICAL that they can put into their existing body of the “Red 8K VV Camera” and take the extra expansion room available from the “Red 8K S35 Helium Camera” and put it inside the current “Red 8K VV Camera SENSOR SIZE” thus that extra space in the Brain of a Vista Vision Housing; in other words that extra space would be a Vista Vision Size, Helium Sensor enlarged with more resolution, within the brain space! That makes sense to me, I hope they put-it on the possibly “New Red 10K or 12K Helium Vista Vision Camera”. That speculation seems very logical to me.

    The Cooke Optics “New S7/i Lens Set” all a uniform T2, that’s impressive given their size, and they are willing, if requested to expand their “Lens Set” beyond their current eight to whatever the Industry requires. They do-not want to dictate to the Industry and Filmmakers, they rather want to Service them! The Current Lenses run between 18 mm, 25 mm, 32 mm, 40 mm, 50 mm, 75 mm, 100 mm and 135mm, again all at T2, all good for night shooting and full daylight, with all the lenses. The Cooke Lenses are made-up with New Glass and with the old Cooke Look, a good combination.

    So to all the followers of “Industry standards”, led me follow with this; “Lead, follow, or get the hell out of the way”! That’s what the legendary Lee Iacocca said a long time ago. To all the “Public Companies” with Boards of Directors that do-not let their CEO’s take RISK, well that’s too-bad. You can continue your policy of; Trickle-down technology? Most Companies go on a cycle of NAB, to Cine Gear, to IBC, and other shows, on an annual basis, many had the old adage of introducing new gear to BUY to replace the OLD at NAB, but then “along came Red” and change the rules of-the-game, it took traditional companies a while to catch-up in their “Business Model” and change how they think, but not on the technology, they still have a long ways to go to get catch-up too where Red-is now, but Red is not staying still, they’re a Dynamic moving target. That includes NHK, they actually used a “Disguised Red Camera” for some of their test.

    Why do I say it must go beyond 8K?; well because we know typically a Filmmaker does not use the “Full Sensor” size to their advantage, they must fit-in their Image(s) within the widow of the Sensor Size in order to get the Aspect Ratio(s) they Desire; and second because there is a certain amount of resolution loss that is present according to the MTF of the particular lenses used, so to get to a TRUE 8K you must go higher than the “Specified Resolution for Marketing Purposes”, about 25% More or Less? I don’t really know what that numbers are, it depends on too many factors, but whatever it-is, is more than the current “Specified Resolution on ALL Cameras”. Thus it takes at least a 10K or 12K resolution to safely get to approximately a TRUE 8K, More or Less, that’s logical. Since Red skipped NAB 2017, so we must wait for Cine Gear 2017.

    Humberto Rivera
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  9. #129  
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    Here is an interesting point on the Cooke S7/i Lenses, the T2 Aperture is the effective Aperture that you can actually shoot a Night Exterior Sequence with any of the eight lenses on the set. That’s important because you don’t have to shoot at T2.8 to get a good picture or anything like that, that’s the True T2 Aperture. That’s all the way to the edges of the “Red 8K VV Camera”, or a 46.31 Image Circle, without any compromised on Resolution. They are designed for all shooting applications, including handheld and Steadicam®, providing comfortable balance ratio with the latest compact cameras.

    The Lenses are larger than most, but not that large that they can’t be a good complement to the size of the “Red 8K VV Camera”. They fit very well within the designed of the “Camera and Lenses”, they both seem proportional to each other, in both weight, and size. The Lenses are ssupplied with the next generation /i Technology for lens metadata capture, for use with metadata for VFX backgrounds, or whatever else is invented. They are especially well balanced for astigmatism and correct for lateral and longitudinal aberrations over the entire image area. So it’s possible for these Lenses to work with Camera Originals against any kind of VFX background.

    "By having access to lens metadata, the PF Track software came up with a solution an order of magnitude faster than by its algorithms alone, and the result was much more accurate because it was based on real camera data. This workflow brings production and post-infinitely closer and benefits both artistic quality and production time." End Quote Michael Lancaster, product director, The Pixel Farm.

    “With the Cinematography Electronics /i Lens Display Unit you can have continuous remote readout of the precise focus setting, T stop and depth-of-field from electronics inside the /i equipped lens. Focus Pullers will be able to "see" where the actor is relative to lens focus and depth of field without turning their heads by using Cinematography Electronics' /i Lens Display Unit in conjunction with their Cinetape.” End Quote Cooke.

    The Cooke S7/i Prime lenses are supplied with /i Technology, and are designed for all PL mounted professional motion picture film and electronic cameras. The /i Technology provides Cinematographers and Filmmakers with vital information on lens setting, focusing distance, aperture and depth-of-field, hyper-focal distance, serial number, owner data, lens type and focal length in both metric and footage measurements. All at T2. The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration.

    http://www.cookeoptics.com/techdoc/C...chure-2017.pdf Here is the pdf for the Cook S7/i Lenses. Available beginning June 2017 in focal lengths: 18 mm, 25 mm, 32 mm, 40 mm, 50 mm, 75 mm, 100 mm and 135mm. T2 Aperture All Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Red Full Frame and beyond. Compatibility All Cooke S7/i Primes have a common fixed front diameter of 110mm, with a focus drive gear of 140T x 0.8 mod and an iris drive gear of 134T x 0.8. Iris A nine-leaf linear module iris assembly is fitted into the Cooke S7/i Primes. All Cooke S7/i prime lenses are color balanced, color-matched and compatible with Cooke Anamorphic/i, Panchro/i Classic, 5/i, S4/i and miniS4/i. At the heart of what makes Cooke special is “The Cooke Look.” The Cooke Look® is about the science of creating beautiful images for the Motion Picture Industry. As a result, for over a century, cinematographers have chosen Cooke lenses for a smooth roundness and dimensionality to the picture and for the velvety skin tones that flatter.

    https://www.youtube.com/watch?v=OBt1969tFG8 by the way here is a Video Study of the Cinematography of “Guardians of the Galaxy Volume 2” I Just thought, “I throw-it in”. It was shot with the “Red 8K Vista Vision Camera” with Panavision Primo Vision 70 Lenses. The video is 48:43 minutes long. Now the Cooke S7/i Lenses are similar in covering the Full Image Circle of the Vista Vison Sensor, or if “Red Decides to Introduce a New Camera” at Cine Gear; like the “10k or 12 K Helium Vista Vision” well they are ready with the Optics, the S7/i which comes out in the Summer of this year, and of course they have the Cooke Look®.

    Humberto Rivera
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  10. #130  
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    Latest News from Cooke Optics.

    https://www.cookeoptics.com/u/news.h...2581230065A599
    Cooke Optics presents S7/i Full Frame Plus and Panchro/i Classics at Cine Gear Expo 2017
    “Leicester, UK – 17 May 2017 – Cooke Optics, the multi-award winning manufacturer of precision lenses for film and television, will present the new S7/i Full Frame Plus prime lens range and the Panchro/i Classic range, alongside a second zoom lens for its Anamorphic/i series, on Booth #67 at Cine Gear Expo 2017, taking place at The Studios at Paramount, Hollywood, LA on June 2-3, 2017. Launched at NAB 2017, the S7/i Full Frame Plus prime lens range is designed to cover the emergent full frame cinema camera sensors, including the RED Weapon VV 8K and the ARRI Alexa 65 in 16:9 mode. The range is scheduled to ship from June 2017. Test footage from the new lenses can be viewed here: https://vimeo.com/213668636” End Cooke Quote.

    Humberto Rivera
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