InCinematographer - Issue 1 - June 2017 - 16

16

www.incinematographer.com | Issue 1 | June 2017

Vintage Style, Modern Lens,
Cooke Look

Cooke Optics recently re-introduced Panchro Classics
using the original design, but with PL mounts for
modern cameras...

T

he original Cooke Speed Panchro, designed by
Horace W Lee in the 1920s, was a cine prime lens
that chromatically enhanced an image when filming
under restricted illumination.
Developed several years before 'talkies' came into
being, the advent of sound films created a great
demand for faster lenses because arc lamps could
no longer be used, making much existing equipment
obsolete. Cooke Speed Panchros combined a relative
aperture as wide as f2.0 with an angular field of
view and definition previously impossible with much

smaller
apertures.
They quickly gained a
worldwide reputation for
quality cinema production
and were widely used
throughout the 20th century.
"We have seen unprecedented
interest in the Panchro/i Classic range since we
announced it at IBC last year," said Les Zellan,
Chairman and Owner, Cooke Optics. "People love the
look they get from the old Speed Panchros, but they
are hard to find - and if you can find them, you have
to remount them for today's cameras. In response to
this, we have taken the original design and created
a new housing to fit a PL mount, while retaining
the same look and feel that people love about the
originals."
Today's cinematographers look to the old Speed
Panchros for their almost undefinable, 'know it
when you see it' vintage quality. They were recently
used to shoot Carol and Mr. Turner, both period

Cooke's Panchro/i Classic

productions and both winners of
awards for cinematography, for
Ed Lachman, ASC and Dick Pope,
BSC respectively.
In particular the old lenses bring
a special, warm, velvety look to skin
tones - for example, Mr. and Mrs.
Smith, shot by Bojan Bazelli, ASC, used Cooke S4/i
lenses for the majority of the film, but the vintage
Panchros were used for close-ups of Angelina Jolie.
Cooke therefore had a large legacy to live up to in
recreating these classic lenses for modern cameras,
but the results speak for themselves. Whilst retaining
the classic look of the original Speed Panchro, the
new Panchro/i Classic lenses - like all contemporary
Cooke lenses - have modern ergonomics for ease
of use as well as /i technology for frame by frame
film and digital data capture. The lenses are also
lightweight, making them ideal for handheld, drone
and Steadicam work.
The Cooke Panchro Classic line is now shipping in
focal lengths 18, 25, 32, 40, 50, 75, 100, 152mm.
www.cookeoptics.com

Angénieux Ships Type EZ Series
Angénieux's Type EZ series has been created to fill the wide gap between still photography zooms,
and the Optimo / Optimo Style family of lenses used in the motion picture industry...

A

ngénieux, with partners Band Pro Film & Digital
Inc. and Jebsen Industrial Technology Co. Ltd.,
announced the delivery of its first Type EZ-1.
At NAB, a special happy hour at BandPro's booth
marked this successful partnership.
Designed for both Super 35mm digital motion
picture cameras, and FF/VistaVision cameras, ENGstyle productions will get the flexibility necessary for
run-and-gun shooting, combined with high optical
quality at an affordable price.
The Angénieux Type EZ Series features two new
fast and light weight zooms, both lenses allow the
rear lens group to be exchanged between S35mm
(up to 30mm image diagonal), and FF/ VistaVision
formats (up to 46mm image diagonal) thanks to
the Angénieux innovative modular lens design
integrating the IRO Technology - Interchangeable
Rear Optics.

EZ-2 wide zoom
lens has a zoom factor of 2.7x

The Angénieux Type EZ-1 is a standard
zoom lens with a zoom factor of 3x. When
configured for S35mm cameras, the focal
range and aperture are set to 30-90mm
F1.9 / T2. By exchanging the rear lens
group, the lens becomes a 45-135mm F2.8
/ T3 covering an image circle up to 46mm
diagonal.
The Angénieux Type EZ-2 is a wide zoom
lens with a zoom factor of 2.7x. When
configured for S35mm cameras, the focal
range and aperture are set to 15-40mm
F1.9 / T2. By exchanging the rear lens group, the lens
becomes a 22-60mm F2.8 / T3 covering an image
circle up to 46mm diagonal.
Both lenses are built in a full metal casing, with
internal thermal drift compensation, which allows
focus to remain constant when the temperature
changes.
Focus / Zoom / T-stop can be controlled precisely
due to the wide rotation angle of the three control
rings, which are also equipped with cinema industry
standard gear teeth.
The lens size remains consistent across the zoom
range due to the internal focusing and zooming
mechanism. Users can easily configure these lenses

EZ-1 zoom lens in 45-135mm F2.8 / T3 configuration

to support different imaging formats (S35 or FF/
VistaVision), and different lens mounts (PL, EF, or E),
without returning their lenses to service centers.
Full frame EZ zooms will fit RED 8K VV, Red
cameras recording at resolutions higher than
5.5K, ARRI Alexa Open Gate, ARRI Alexa 65 with
VistaVision crop and also Full Frame DSLR cameras
such as SONY a7S Mark II, Canon EOS 5D Mark IV,
5DS, and 1DX Mark II.
An optional hand-hold style zoom grip configures
the EZ lens into a traditional ENG style camera
package.
www.angenieux.com


http://www.incinematographer.com http:// https://cookeoptics.com/l/panchro-classic.html https://vimeo.com/213684907 http://www.cookeoptics.com https://www.angenieux.com/collections/ez/ https://www.angenieux.com/collections/ez/ http://www.angenieux.com

Table of Contents for the Digital Edition of InCinematographer - Issue 1 - June 2017

In This Issue
InCinematographer - Issue 1 - June 2017 - Intro
InCinematographer - Issue 1 - June 2017 - Cover1
InCinematographer - Issue 1 - June 2017 - Cover2
InCinematographer - Issue 1 - June 2017 - In This Issue
InCinematographer - Issue 1 - June 2017 - 4
InCinematographer - Issue 1 - June 2017 - 5
InCinematographer - Issue 1 - June 2017 - 6
InCinematographer - Issue 1 - June 2017 - 7
InCinematographer - Issue 1 - June 2017 - 8
InCinematographer - Issue 1 - June 2017 - 9
InCinematographer - Issue 1 - June 2017 - 10
InCinematographer - Issue 1 - June 2017 - 11
InCinematographer - Issue 1 - June 2017 - 12
InCinematographer - Issue 1 - June 2017 - 13
InCinematographer - Issue 1 - June 2017 - 14
InCinematographer - Issue 1 - June 2017 - 15
InCinematographer - Issue 1 - June 2017 - 16
InCinematographer - Issue 1 - June 2017 - 17
InCinematographer - Issue 1 - June 2017 - 18
InCinematographer - Issue 1 - June 2017 - 19
InCinematographer - Issue 1 - June 2017 - 20
InCinematographer - Issue 1 - June 2017 - 21
InCinematographer - Issue 1 - June 2017 - 22
InCinematographer - Issue 1 - June 2017 - 23
InCinematographer - Issue 1 - June 2017 - 24
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InCinematographer - Issue 1 - June 2017 - 67
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