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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

New Cooke Panchros anybody?

Bryan, at your leisure, could you post shot(s) with flesh tone and flare management with the New Cooke Panchros? Thanks.
 
I just got my Cooke Panchro/i 18mm today! Very excited. I'll be testing it out tomorrow, I'll be sure to try and post something here. It won't be a technical test of any means, but I'll post the lens data and the camera settings on a RedOneMX.

The build quality and size is just like the others, simply top shelf.
 
Ryan

could you post a pic of the 18mm please? Looking forward to hearing how she looks.
 
I just set up a RedOne pointed outside my front door and rotated out the prime lenses. Using photoshop I did a cool little FoV chart using the images from the other focal lengths.

The overall image is from the new 18mm prime lens. This picture represents the Red 4k 16:9 Fov but not the full resolution and it has been compressed from a png to jpg, so don't pixel peep. :)

Here it is!

-Ryan


Cooke Panchro FoV.jpg
 
thanks for sharing.
With no doubt it's a cooke lens we have got accustom to.
Congratulations on the set.

been looking at them my self, but since I have sold my cooke zoom, I will go the zeiss route.
 
Hey Albert!

Going the Zeiss route ?????

Why ? Which series ?

Just curious

Antoine
 
Hi Antoine
I am probably getting the Lightweight Zoom LWZ.2 and few compact primes. Most likely: 50, 85 and 100

I want to stay flexible with mounts.
Cp2 are great and since I am really used to zf lenses I know how to get the best of them.

I am going to NAB this year and will take a look at some other options, but so far my mind is set.

Cookes are great thought...but too expensive and too slow for a personal use.
 
Hi Albert,

Good choice i think, lightweight and full frame. (not the zoom though, i think...)

I'm thinking going from nikon mount to PL.

I would like to get old Canon K35s, but the price is too high for used lenses :)

The Cookes...look super... but as you say...too expensive.

Cheers

Antoine
 
Thank you Ryan for taking the time to post the picts.

When I rented the new Panchros for my shoot I didn't have enough time to test all focal lengths.

ag-cooke-1.jpg


Here's a grab from our work on Amy Grant's latest music video "Better Than A Hallelujah"

New Cooke Panchro 32mm T4 - grab made with old version of RedcineX and no color correction... blacks crushed a bit


A note about the speed...

My opinion is that 2.8 isn't a slow lens..there are faster out there yes..but at 2.8 it's extremely sharp.. no need to stop down in order to get an acceptable image...it's starts acceptable and gets sharper as you stop down.

Remember "Taking of Pelam 123" original was shot on Ana's (T3-ish) on 100 speed film with some flashed mags taking them to 200 mostly natural light and mostly in the subway.
 
I was thinking of buying the Angenieux Rouge 16 - 42, with a 75mm & 100m Cooke Panchro to make a set. Will these lenses colour match and have similar sharpness and contrast? Would this make a god set or am I better off sticking with a set of Panchros or the 2 Rouge zooms and not mixing them together?
 
Many of the big productions who have shot w/ Cooke S4's have used Angenieux Optimo's in tandem with the lenses. Angenieux has been described as being between Cooke and Zeiss in regards to color rendition. Obviously this has been met with success, but I do not know if they had to compensate or by how much, if so. Similarily, I don't know how much the DP 'rouge' series stacks up to the original Optimo's but I've heard well.

So without doing any testing, I'd say there is a good chance that would work, however you would be very best to test yourself. I have yet to shoot on the new DP series optimo. My only experience has been on the 24-290 Optimo.

I can tell you that these lenses won't be as matched as either going full Panchro/i set or an Angeniuex DP set. It's simply a matter if you can get away with it easily or not.
 
Any differences in color rendition will be very minor and easy to correct with a basic first pass in coloring. The Rouge lenses are awesome. I owned both the 16-42 and 30-80 briefly, but couldn't justify keeping them. I often wish I still had them. Depending on your usage, that 16-42 plus the couple primes may be a good solution. I would think another powerful option (but more money) would be both Rouge zooms plus a 100mm RPP or 100mm Panchro.

I finally got to see the new Cooke Panchros the other day. Didn't really get to play with them much as I was helping the DP and AC prep two REDs and some gear before a shoot. The little bit that was shot looked great. The 50mm is tack sharp wide open at T2.8. Overall the Panchros look like very nice lenses. Just based on what I have seen so far, I feel confident saying that I would buy the new Panchros before I would buy the Zeiss CP2's. ...They didn't have the 18mm, just the 25 and up.
 
panchros are cooke optics based on s4's... they have the name, the proven quality and reputation. people love the cook look, and they also have uncompromised mechanics.

cp2's, unmatched speed and look, still rehoused still glass in the end, breathing, fine focus isn't as good, very sharp but doesn't have any kind of look that makes it stand out. Cooke is famous for their look, and the panchros though slower match s4's almost perfectly...
 
Tom sums it up well, although the CP.2's do have a few advantages. To call them re-housed still lenses is not fair, they are their own mechanical design and are rather well made. They do share the same optical elements used in the ZE/ZF stills lenses. They look and breathe just like the Zeiss still lenses, of which I am not a fan of that look, some people are. The newer 50mm macro and 100mm CF are nice additions to the range of lenses. They cover FF35 and have the ability to change the mounts -- done in a proper setting by a technician, not something you would do in the field.

Personally, I just prefer the look produced by the Cooke lenses. They are all tack sharp when shot wide open and most of the time you will not need anything more than T2.8. At least not in a narrative setting where lighting is controlled.

No matter how much I try, I just can't like the 18mm and 25mm Zeiss primes. Sorry to say it, but I'm not the least bit impressed with the performance of their 18mm. And the F3.5 aperture is only one variable in the equation.

I'm really thinking about buying the Panchros myself, but it may not be in the cards. I would have to sell my RPP's to do it... I really like the RPP's. The 18, 25 and 35 are big and heavy, but that's really their only issue. Nice lenses. Biggest complaint from other ACs I hear about them is the lack of marks on the lenses... It bothers some, but not others and not me. I depend on marks I make on my FF wheel, not on the lens itself. If I want focus marks on the lens, I mark what I need with grease pencil or tape it and mark with a sharpie.
 
Duclos is offering a service that adds additional marks to the Red primes. It does not void the Red warranty, I believe.

It really surprises me that everyone keeps talking about the usual suspects.
If you are looking for a great 18mm or 25mm prime, check out the Unique Optics.
 
A little OT. The Panchros are on order, but I'm not going with their case. I would never ship these and may do a Pelican Roll-a-board to keep 'em with me on the plane. I use two of these now for my still cameras/lenses. If anyone else has other suggestions for a case, I'd love to hear 'em.

Thanks,
CB
 
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