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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's

I first bitched about the speed of those new cookes and the next thing I do
I am placing an order on them.
What holds me back is the lack of 18mm in the $33,000 set.
In practice a usable set will cost over 42,000. A lot...
Order not placed, still thinking...
 
Superspeeds are barely usable at 1.3 in my opinion and one day the craze about shallow depth of field will (hopefully) end and everybody goes back to f-stops that make sense and don't just rely on shallow DOF to create a look. Ask professionals like Roger Deakins or David Mullen (or Mitch Gross) which stops they're using. I'd bet a lot that 90% of the major feature films never see f-stops below 2.8 anyways.

Unfortunately I have to use old speed panchros wide open to a maximum of f4.0 to take the edge off the picture a bit, stopped down to f5.6 the RED looks very awfully digital in my opinion.
 
In the perfect world you set the desired f stop.
That is not the case most of the time in my little world.
I am looking for a universal lens set, which I can use in Docs, Live performance, Feature films (indy), second unit "b" cam, and occasional rental.
Rental may be the last resource, but if I had to do it then probably the cooke would attract more people.
I wonder in terms of ratio, what is used the most on the feature film sets. Larger production mostly as the small indy have no budgets for the B cam.
As an owner spending 20,000-40,000 should be wise and future proof decision.
Where are we going to be in 10 years? 3D and FF35 most likly. So far the only lens that will cover FF is Zeiss Compact.
I would love to see those "misery german primes"
At least we start having choices.
 
Doesn't really matter where we'll be in 10 years because your equipment investment better pay for itself in two years, or else it's probably not a very smart investment.

I also don't think Super-35 is going away even if FF35 takes off, particularly if you are shooting a mix of projects that include documentaries where even shooting S35 is rare and FF35 will be even rarer. Same goes for concert footage -- do you really want to be at 300mm wide-open on a FF35 camera following a singer in close-up as he runs around the stage? So while I believe FF35 has a place in future filmmaking, I don't see it replacing all future filmmaking. And also considering many still camera lenses cover FF35, you can always pick up a set later to augment your S35 cine primes for the occasional shot you have to make in FF35. Besides, if your investment pays off in two years, after that, it doesn't really matter if you have to upgrade your optics again.
 
Nice to be listed after Roger Deakins & David Mullen!

I agree with David. You need to think about the gear you are going to be using now and in the reasonably near future. That can mean up to a couple of years. I would say that the FF35 cameras should be available by then and if that is the frame you wish to use then the Compact Primes are the way to go. But Super-35 has a long, healthy life left to it, and there are many options then available. And yes, I would rarely choose to shoot with an aperture wider than T2.8 (usually T4) when shooting in a Super-35 frame as the resulting depth of field would be distractingly shallow. If you cannot afford the lighting to get a deeper stop then perhaps the 2/3" Scarlet is more for you. The smaller sensor means that a T1.3 will have the resulting depth of field of about T4 in Super-35.
 
Thanks David.
2 years to have the lenses paid is fast. My Red is long paid, but lenses is another story.
I guess it is not the best time to invest in lenses. So far my favorite lens was S4, but unless you have some 150 shooting days per year it's pointless to own it.
I guess the times where buying a lens for lifetime are over.

Mitch, agree with what you say, but
you are forgetting that the f stop in relation to depth of field is affected not only by the fstop, but mostly by the length of the lens.
T1.3 on 21mm master prime looks as good as t4 from 6 meters to infinity.

I own a set of s16 speeds and use them on Red quite often. They give some two stops in depth over 35mm. They will serve well on the 2/3 when it's out.

FF is beautiful, perhaps only because of the shallow depth, but so is the anamorphic lens.

Attached are frames shot at 2.8-4 200m and 300mm
First image is FF, the rest Red
Shot on Red and MK2
 

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If the new Illuminas perform as I'm expecting to then they will be a very compelling choice for the owner/operator segment.

p
 
Paul
I've been looking at them closely.
It seams like the one to get (speed, coverage, size and weight) , but the mark ruins it in some cases.
No problem with my own gigs, but when it's a second unit or B, producers may question your lens kit.
I guess I'll wait and see. If it happens to be an excellent glass and it gains the reputation, I'll get it.

Is anybody using the new Compact zeiss?
Any comments?
 
albert rudnicki said:
Paul
I've been looking at them closely.
It seams like the one to get (speed, coverage, size and weight) , but the mark ruins it in some cases.
No problem with my own gigs, but when it's a second unit or B, producers may question your lens kit.
I guess I'll wait and see. If it happens to be an excellent glass and it gains the reputation, I'll get it.
Click to expand...

I understand that. Some of the people around here seem to have a pretty open mind about them. Will be interesting if they deliver quality. Should find out pretty soon.
 
albert rudnicki said:
In the perfect world you set the desired f stop.
That is not the case most of the time in my little world.
I am looking for a universal lens set, which I can use in Docs, Live performance, Feature films (indy), second unit "b" cam, and occasional rental.
Rental may be the last resource, but if I had to do it then probably the cooke would attract more people.
I wonder in terms of ratio, what is used the most on the feature film sets. Larger production mostly as the small indy have no budgets for the B cam.
As an owner spending 20,000-40,000 should be wise and future proof decision.
Where are we going to be in 10 years? 3D and FF35 most likly. So far the only lens that will cover FF is Zeiss Compact.
I would love to see those "misery german primes"
At least we start having choices.
Click to expand...

I shot a feature with Zeiss Compact Primes this summer in Switzerland and liked the lenses a lot. Very well built, light, mechanics running smooth. With the Red One stop is an issue and I guess T3.6 on the 18mm can be a dealbreaker. Our set had 21 to 85mm and the lenses get a tiny bit soft when opened to full aperture. But not as you would know it from an MKI. The look seemed warmer as I know it from standard primes or Ultras. All together a good lens set I would say.
But again with Red 2.8 is an issue. What really is an argument on the other side is the T1.5 Zeiss offers on the 50 and 85mm. Lots of choices. You said it.

Markus
 
David Mullen ASC said:
Same goes for concert footage -- do you really want to be at 300mm wide-open on a FF35 camera following a singer in close-up as he runs around the stage?
Click to expand...

Same goes for sports, nature, etc. Makes me wonder when we will see a 4K 3 chip 2/3" broadcast style camera. Can't be that hard to do - my little 1080P canon's have 8MP chips - and with all sorts of compression schemes, solid state drives and such the data recording issues are not as great as they were even a couple years ago.
 
The 5i set is out. I believe Clairmont has a set. Not sure about the Pancros.
71294311.jpg
 
Mitch Gross said:
What happened to that thing where the T5.6 mark is supposed to be?
Click to expand...

Cooke_ipin_01.jpg


It's a place where is the (external) Cooke i/data ingest out connector for a film/digital camera with PL mount that doesn't have ipin electronics

or field monitors like a new TransVideo CineMonitorHD 12" with /i Technology data displaying the focus scale and aperture of Cooke S4/i and S5/i.

Also can be used with Cmotion wireless FF, Iris, Zoom kit.

LINK>>>
 
Mitch Gross said:
What happened to that thing where the T5.6 mark is supposed to be?
Click to expand...

Hey, photo went away. The angle was just so aligned that I didn't realize that it was the i/data connection. Funny, I look at those all the time!
 
albert rudnicki said:
Hey Mitch
Can you scoop any news from today's Abel/Canon event?
(if I heard it well, that is:)
Click to expand...
I'll be short so as not to thread hijack.

Not that kind of event. More about letting everyone know what is out there for accessories and functionality, plus teaching workflow and showing what the capabilities of the technology are. Two nifty things we're showing are the Hot Rod 7D-PL conversion and the wifi camera base from Canon that now allows some video control, which is pretty cool.
 
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