Cooke Optics, manufacturer of precision lenses for film and television, will bring its latest lens developments to Stand 12.D10 at IBC2017 (9/15-19 in Amsterdam), including the S7/i and Panchro/i Classic ranges as well as two true front anamorphic zoom lenses for the Anamorphic/i series.
The S7/i Full Frame Plus prime lens range is designed to cover the emergent full frame cinema camera sensors, up to the full sensor area (46.31mm image circle) of the RED Weapon 8K. The new lenses–which, like all Cooke lenses, feature the beloved “Cooke Look”–are available in 18, 25, 32, 40, 50, 75, 100 and 135mm. All Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Full Frame and beyond. They 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. A nine-leaf linear module iris assembly is fitted into the Cooke S7/i lenses. The average weight of an S7/i lens is approximately 3.5kg. Test footage from the new lenses can be viewed here: https://vimeo.com/213668636
The Panchro/i Classic range is a modern redesign achieving the same look and feel as the beloved original Speed Panchros. With newly designed housing and PL mounts, the Panchro/i Classic lenses are lightweight, making them ideal for handheld, drone and Steadicam® work.
Cooke will also present its front Anamorphic/i zoom lenses. The 45-450mm Anamorphic/i zoom lens has specifications featuring 10x zoom front anamorphic, T4.5-22, 5’10” MOD from image plane and 3’11” close focus from the front of the lens. The 35-140mm Anamorphic/i zoom offers a unique combination of attributes allowing shooting from very wide angle to telephoto with a 4x zoom ratio and 2x Anamorphic squeeze. It features T3.1-22 aperture and anamorphic oval bokeh. The colour and depth of field characteristics of both zooms are matched to the rest of the Anamorphic/i prime range.
Visitors to the Cooke booth will additionally see the Anamorphic/i SF lens range, featuring a coating that gives cinematographers even more options for anamorphic character with enhanced flares and other aberrations, and still retaining the oval bokeh.
Cooke will also present lenses from its leading Anamorphic/i, 5/i, S4/i and miniS4/i ranges, and the Sony E and micro 4/3 mounts for miniS4/i and Panchro/i Classic lenses that enable users of these cameras to benefit from the “Cooke Look.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More