Cooke Optics


Robert Howard TV-Bay Magazine
Read ezine online
by Robert Howard
Here at Cooke Optics we’re currently basking in the golden glow of our brand new Academy Award® of Merit – yes, that’s an Oscar® statuette – which we received this February in recognition of our continuing innovation in the design, development and manufacture of motion picture camera lenses. From Charlie Chaplin and Laurel and Hardy right up to Zero Dark Thirty and After Earth, our lenses have been bringing their renowned warm, organic ‘Cooke Look’ to the movies for 120 years.
But the digital revolution has caused a shift in recent years, and broadcasters around the world are switching from cameras with 2/3” sensors to those with PL mounts such as the ALEXA, Sony F65, EPIC and all these 2K, 4K and 5K cameras that give a full-frame 35mm picture.
This is opening up a new world of cinematic possibilities for broadcasters. With the smaller 2/3” video formats, the whole screen is in focus so the viewer’s eye has to work harder to follow the story. As the format gets bigger, the depth of field or selective focus comes into play which gives the film maker more storytelling opportunities by drawing the eye to specific parts of the screen. This subconsciously makes for a more relaxing and pleasant viewer experience as the eye is automatically drawn to the area in focus.
We have heard evidence of a popular South American soap opera which switched from video to digital cameras shooting full frame: with no storyline or cast changes, or any other differences, their audience figures suddenly increased substantially, and it was attributed to the format change.
Of course, good lenses also contribute substantially to a better viewing experience. Digital images are clean and pure but don’t have much personality; Cooke lenses handle colour and contrast in such a way that they give a warm, organic and much more visually pleasing quality known as the ‘Cooke Look’ that audiences respond to, while still retaining full resolution to beyond 4K.
And since we’ve mentioned 4K, let’s address what it means for us.
We’re constantly being asked if our lenses can handle 4K and above. Since all features shot on film in the last 50 years or so have had a negative of around 6-8K, and we’ve been in the motion picture business for over 100 years, our lenses are already capable of shooting above 4K.
However, we’re of the firm belief that what matters is what’s right for the story. 4K is the current marketing and engineering buzz; but it shouldn’t really matter what the spec is. Choose 4K, 2K, 35mm or Super 8 – it’s all about telling a story and what is the best look for that story.
In today’s digital world there’s no reason to shoot anamorphic other than gaining that special look, and it’s why people are looking to old-style lenses like Speed Panchros or our Cooke miniS4/i lenses to knock the digital look away. A leading rental house in Uruguay, Musitelli, has several sets of miniS4/i lenses, and his most popular set has uncoated elements – he says the DPs really like how the uncoated lenses behave more like old lenses, especially with digital cameras – the images are not so ‘pristine’, and they like the softer, more flattering effect especially for beauty work.
The miniS4/i range is proving particularly popular for broadcast work since it can produce a cinematic look without a feature film budget. There were rumblings when we first introduced the range at T2.8 stop, but since digital cameras are so much more light-sensitive these days it has proved to be a non-issue – it has been said that T2.8 is the new, economical T2.0.
The miniS4/i lenses incorporate everything that today’s content creators ask for: they are smaller, lighter-weight lenses that offer the same resolution, optical quality and reliability as the S4/i lenses at T2.8 speed. The miniS4/i’s are also calibrated and colour matched to the Cooke S4/i and 5/i lenses for shooting film and digital images up to and beyond a 4K resolution, and include the /i Technology sensor that captures valuable lens metadata.
With 120 years of history behind us, our shiny Oscar statuette serves as a reminder that we must continue to look forward. Cooke has been an innovative force in this industry from the birth of motion pictures to the current digital film revolution, and we’ll be making some exciting announcements later this year about our newest developments.
www.cookeoptics.com

Tags: iss074 | robert howard | cooke optics | oscar | lens | 2/3 inch sensor | T2.8 | 4K | miniS4/i | Robert Howard
Contributing Author Robert Howard

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Cooke Optics technology at IBC 2014

    Cooke Optics technology at IBC 2014

  • Cooke Optics talk anamorphic at IBC 2014

    Cooke Optics talk anamorphic at IBC 2014

  • Cooke Optics on BroadcastShow LIVE at IBC 2013

    Cooke Optics on BroadcastShow LIVE at IBC 2013

  • Cooke Optics at BVE 2012

    Cooke Optics at BVE 2012

  • Broadcasters mobile phone rack with HD voice from Glensound at IBC 2018

    Broadcasters mobile phone rack with HD voice from Glensound at IBC 2018

  • Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

    Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

  • Virgil OB headphone amplifier from Glensound at NAB 2018

    Virgil OB headphone amplifier from Glensound at NAB 2018

  • PARADISO Lite commentary unit from Glensound at BVE 2018

    PARADISO Lite commentary unit from Glensound at BVE 2018

  • Schneider Filters and Cine-Tilt Lens at IBC 2017

    Schneider Filters and Cine-Tilt Lens at IBC 2017

  • Glensound Dante Intercom System at IBC 2017

    Glensound Dante Intercom System at IBC 2017

  • Live Sports Broadcast Commentator from Glensound at NAB 2017

    Live Sports Broadcast Commentator from Glensound at NAB 2017

  • Fujinon 18-55 Lens at BVE 2017

    Fujinon 18-55 Lens at BVE 2017

  • Glensound at IBC 2016

    Glensound at IBC 2016

  • Glensound at NAB 2016

    Glensound at NAB 2016

  • Glensound at BVE 2016

    Glensound at BVE 2016

  • Glensound Expedition at IBC 2015

    Glensound Expedition at IBC 2015

  • Glensound at BVE 2015

    Glensound at BVE 2015

  • Glensound Dante at IBC 2014

    Glensound Dante at IBC 2014

  • Glensound Atomic Copper at NAB 2014

    Glensound Atomic Copper at NAB 2014

  • Glensound Cub at BVE 2014

    Glensound Cub at BVE 2014

  • Glensound on BroadcastShow LIVE at IBC 2013

    Glensound on BroadcastShow LIVE at IBC 2013

  • Glensound with the USB Commentary Mixer at IBC 2013

    Glensound with the USB Commentary Mixer at IBC 2013

  • Glensound: RECCE HD at NAB 2013

    Glensound: RECCE HD at NAB 2013

  • Polecam: Z10 zoom lens at NAB 2013

    Polecam: Z10 zoom lens at NAB 2013

  • True Lens at BVE 2013

    True Lens at BVE 2013

  • Lens Adaptor at BVE 2013

    Lens Adaptor at BVE 2013

  • Glensound at BVE 2013

    Glensound at BVE 2013

  • Glensound at BVE North 2012

    Glensound at BVE North 2012

  • Glensound at IBC 2012

    Glensound at IBC 2012

  • Glensound at NAB 2012

    Glensound at NAB 2012

  • Glensound at BVE 2012

    Glensound at BVE 2012

  • New Filters from Schneider Optics at NAB 2018

    New Filters from Schneider Optics at NAB 2018

  • BeyondHD - Drones at BVE 2015

    BeyondHD - Drones at BVE 2015

  • Polecam Antelope Pico at IBC 2014

    Polecam Antelope Pico at IBC 2014

  • Polecam Toshiba Minicams at BVE 2014

    Polecam Toshiba Minicams at BVE 2014

  • Canon on BroadcastShow LIVE at IBC 2013

    Canon on BroadcastShow LIVE at IBC 2013

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • Cooke at IBC2011

    Cooke at IBC2011

  • MTF at IBC2011

    MTF at IBC2011

  • Bradley at IBC2011

    Bradley at IBC2011

  • Matrox Unveils Monarch EDGE 4K Contribution Encoder at IBC 2018

    Matrox Unveils Monarch EDGE 4K Contribution Encoder at IBC 2018

  • 12G 4K microMUSA Jackfield and Fibre Termination Solutions from Canford at IBC 2018

    12G 4K microMUSA Jackfield and Fibre Termination Solutions from Canford at IBC 2018

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Apantac 4k UHD HDMI/DVI Multiviewer with KVM at IBC 2018

    Apantac 4k UHD HDMI/DVI Multiviewer with KVM at IBC 2018

  • JVC 4K Connected Camera GY-HC550 and 500 at IBC 2018

    JVC 4K Connected Camera GY-HC550 and 500 at IBC 2018

  • IMT Vislink HCAM 4k UHD transmitter at IBC 2018

    IMT Vislink HCAM 4k UHD transmitter at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • 4K UHD Multi-viewer HDMI 2.0 from Apantac at NAB 2018

    4K UHD Multi-viewer HDMI 2.0 from Apantac at NAB 2018

  • Omnitek Updates for Ultra 4k Toolbox at NAB 2018

    Omnitek Updates for Ultra 4k Toolbox at NAB 2018

  • 4k and HEVC with Garland at BVE 2018

    4k and HEVC with Garland at BVE 2018

  • 6K Sony Venice and Sony 4k Palm Camcorders at IBC 2017

    6K Sony Venice and Sony 4k Palm Camcorders at IBC 2017

  • JVC 4K UHD Monitors at IBC 2017

    JVC 4K UHD Monitors at IBC 2017

  • The CFU5 4k Transmitter from Vislink at IBC 2017

    The CFU5 4k Transmitter from Vislink at IBC 2017

  • Wireless 4K Transmitter from DTC Domo Broadcast at IBC 2017

    Wireless 4K Transmitter from DTC Domo Broadcast at IBC 2017

  • AJA Thunderbolt 3 IO 4k Plus at IBC 2017

    AJA Thunderbolt 3 IO 4k Plus at IBC 2017

  • HDR, 12G, 4k, IP - the range expands from Phabrix at NAB 2017

    HDR, 12G, 4k, IP - the range expands from Phabrix at NAB 2017

  • Quad 4k Capture and Stream with Maevex from Matrox at NAB 2017

    Quad 4k Capture and Stream with Maevex from Matrox at NAB 2017

  • 4k 60 Matrix from GDSYS at NAB 2017

    4k 60 Matrix from GDSYS at NAB 2017

  • HEVC 4k Encoding from Aviwest at NAB 2017

    HEVC 4k Encoding from Aviwest at NAB 2017

  • Apantac 4k live demo at NAB 2016

    Apantac 4k live demo at NAB 2016

  • Omnitek Ultra 4K Tool Box at IBC 2015

    Omnitek Ultra 4K Tool Box at IBC 2015

  • Snell Advanced Media (SAM) 4k workflow at IBC 2015

    Snell Advanced Media (SAM) 4k workflow at IBC 2015

  • MULTIDYNE Silverback 4k at NAB 2015

    MULTIDYNE Silverback 4k at NAB 2015

  • Atomos talking 4K on BroadcastShow LIVE at IBC 2013

    Atomos talking 4K on BroadcastShow LIVE at IBC 2013

  • Panasonic Lumix GH5 at BVE 2017

    Panasonic Lumix GH5 at BVE 2017

  • Garland at BVE 2017

    Garland at BVE 2017

  • Ikegami 8k camera at IBC 2016

    Ikegami 8k camera at IBC 2016

  • Ikegami HQLM-3120W monitor at IBC 2016

    Ikegami HQLM-3120W monitor at IBC 2016

  • Ikegami UHK-430 camera at IBC 2016

    Ikegami UHK-430 camera at IBC 2016

  • Video Devices PIX-E at IBC 2016

    Video Devices PIX-E at IBC 2016

  • Sound Devices Wingman app at IBC 2016

    Sound Devices Wingman app at IBC 2016

  • JVC GY-LS300 at IBC 2015

    JVC GY-LS300 at IBC 2015

  • AVIWEST at IBC 2015

    AVIWEST at IBC 2015

  • BBright at IBC 2015

    BBright at IBC 2015

  • Thomson Video Networks at IBC 2015

    Thomson Video Networks at IBC 2015

  • Lynx Technik at IBC 2015

    Lynx Technik at IBC 2015

  • JVC at BVE 2015

    JVC at BVE 2015

  • Grass Valley at BVE 2015

    Grass Valley at BVE 2015

  • Gearhouse Broadcast at BVE 2015

    Gearhouse Broadcast at BVE 2015

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • Tektronix at IBC 2014

    Tektronix at IBC 2014

  • JVC GY-LS300 prototype at IBC 2014

    JVC GY-LS300 prototype at IBC 2014

  • MultiDyne SilverBACK at IBC 2014

    MultiDyne SilverBACK at IBC 2014

  • BBright at IBC 2014

    BBright at IBC 2014

  • Hitachi at IBC 2014

    Hitachi at IBC 2014

  • Guntermann and Drunck DP-HR range at IBC 2014

    Guntermann and Drunck DP-HR range at IBC 2014

  • Ateme at IBC 2014

    Ateme at IBC 2014

  • Quantel LiveTouch at IBC 2014

    Quantel LiveTouch at IBC 2014

  • Quantel deal with AFP at IBC 2014

    Quantel deal with AFP at IBC 2014

  • Snell Kahuna Production Switcher at IBC 2014

    Snell Kahuna Production Switcher at IBC 2014

  • Matrox Monarch HD at NAB 2014

    Matrox Monarch HD at NAB 2014

  • Elemental Technologies Software-Defined Video at NAB 2014

    Elemental Technologies Software-Defined Video at NAB 2014

  • Elemental Technologies HEVC solutions at NAB 2014

    Elemental Technologies HEVC solutions at NAB 2014

  • Elemental Technologies Multiscreen Solutions at NAB 2014

    Elemental Technologies Multiscreen Solutions at NAB 2014

  • Guntermann and Drunck at NAB 2014

    Guntermann and Drunck at NAB 2014

  • Matrox Mojito at NAB 2014

    Matrox Mojito at NAB 2014

  • Matrox Capture Card at NAB 2014

    Matrox Capture Card at NAB 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Guntermann and Drunck at BVE 2014

    Guntermann and Drunck at BVE 2014

  • Philip Bloom on Tour in Belfast

    Philip Bloom on Tour in Belfast

  • Cinegy on BroadcastShow LIVE at IBC 2013

    Cinegy on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Miranda on BroadcastShow LIVE at IBC 2013

    Miranda on BroadcastShow LIVE at IBC 2013

  • Snell on BroadcastShow LIVE at IBC 2013

    Snell on BroadcastShow LIVE at IBC 2013

  • Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

    Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

  • JVC GY-HM600 series camera updates at IBC 2013

    JVC GY-HM600 series camera updates at IBC 2013

  • ATEME at IBC 2013

    ATEME at IBC 2013

  • Multidyne SilverBack, BullDog and Spider at IBC 2013

    Multidyne SilverBack, BullDog and Spider at IBC 2013

  • Cinegy at IBC 2013

    Cinegy at IBC 2013

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • MultiDyne: SilverBACK at NAB 2013

    MultiDyne: SilverBACK at NAB 2013

  • Quantel Pablo Rio at NAB 2013

    Quantel Pablo Rio at NAB 2013

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Facilis at NAB 2013

    Facilis at NAB 2013

  • AJA at BVE 2013

    AJA at BVE 2013

  • JVC at BVE 2012

    JVC at BVE 2012


Related Shows
  • Philip Bloom chats 4k: BVE Day 2

    Philip Bloom chats 4k: BVE Day 2


Articles
NEP Student Day
KitPlus The world of broadcasting is in constant flux, with undefined boundaries between broadcast, TV, film and interactive media. With a changing consumer demographic now a key influence on the industry, many companies no longer specialise in a single medium, but have had to become adaptable to deliver multiple services through a combination of media.
Tags: iss134 | students | tvfutures | NEP | KitPlus
Contributing Author KitPlus Click to read or download PDF
Keeping it remotely real
Reuben Such Everyone wants to do more with less. Always have, although it could be argued that doing more with more is something to aspire to, not many have that luxury. So let’s stick with the prevailing winds of doing more with less, and not just doing more, but doing it remotely, particularly in terms of production. Remote production, in particular, is getting a lot of attention in the field these days, but not so much in terms of the remote operation of fixed studios.
Tags: iss134 | remote control | IPE | IDS | Reuben Such
Contributing Author Reuben Such Click to read or download PDF
Protecting the continuity of transmission
Lorna Garrett Your viewers love you. You consistently bring them their preferred channels 24/7. They’ve come to rely on you for their viewing pleasure. They never miss cheering on their beloved sports teams. They’re the envy of their friends as they watch live concerts of their favourite bands. They gather the family around and catch up on their must-see shows. They don’t have a bad word to say about you.
Tags: iss134 | garland | gpl | streaming | artel | disaster recovery | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
The Wireless Way to 4k
JP Delport DTC’s AEON group of products have been specifically designed for the 4K market. We encode with the more efficient HEVC algorithm, which means we are taking a 12G signal and compressing it to a bitrate that can be managed over an RF link. So what makes this a leading idea in the 4K revolution?
Tags: iss134 | wireless | 4k | transmission | JP Delport
Contributing Author JP Delport Click to read or download PDF
What content providers need to know about OTT
Hiren Hindocha As OTT (Over-The-Top) technology has gotten more mature and established robust standards over the years, the concept of OTT monitoring is gaining popularity. With customer expectations soaring, it’s vital for OTT providers to deliver superior quality content. To deliver Quality of Experience (QoE) on par with linear TV broadcast, the entire system, starting from ingest to multi-bitrate encoding to delivery to CDN must be monitored continuously.
Tags: iss134 | ott monitoring | qos | logging | compliance | dash | atsc | cloud | Hiren Hindocha
Contributing Author Hiren Hindocha Click to read or download PDF