American Cinematographer - May 2021 - 9
Photo: Cate Cameron
AnamorphicI
Primes & Zoom
From T2.3
" The project came up through my agent while I was in
Australia. For me, it was great - a high profile comedy
with Kristen Wiig.
We decided to use Sony's Venice camera loaded with
the latest firmware update. When it came time to
selecting the lenses for the project, Director Josh
Greenbaum made it very clear from the beginning that
he wanted to shoot in anamorphic 2.39 to capture the
vistas in the film. We blind tested various anamorphic
lenses and just kept going back to the Cookes.
With the Cooke lenses, I had a consistent look throughout the entire project. The 'Cooke Look®' is a number of
things, some more tangible than others. What I really
like about Cooke lenses is that they are not overly
harsh. They give you ways to take the digital edge off
the cameras, which are so sharp in higher resolutions -
sometimes being too digital looking is somewhat
unflattering. That's a concern of DPs worldwide. Cookes
are sharp, but with a certain gentleness and are more
flattering than other modern lenses... but it's not a
vintage kind of look. It's sort of how they are made.
They're infused with a hand-made quality that extends
to the image as well.
Available in Standard and
SF " Special Flair " versions
Primes focal lengths:
25, 32, 40, 50, 65 MACRO,
75, 100, 135, 180, 300mm.
Zoom: 35-140mm
We shot with high key lighting and lots of colour -
bright ocean blues, oranges, and pinks. Those saturated
colours handled well with the Cookes and I was able
to use some mild diffusion with Schneider Radiant Soft
Filters - they combined well with the Cooke Look®.
I want to applaud Cooke because they have a lovely
consistency across all their lens families. Having a
similar look is really important to DPs, but I know when
I put on the Cookes and I'm testing, that's what I get,
and that's quite nice. It's a look that is carefully considered and flattering for the actors... and that can be the
most important thing. "
Toby Oliver ACS
Director of Photography
Barb and Star Go to Vista Del Mar
British Optical Innovation and Quality Since 1894.
cookeoptics.com
T: +44 (0)116 264 0700
www.cookeoptics.tv
www.shotoncooke.com
Cooke Americas
cookeamericas.com
T: +1-973-335-4460
JULY 2020 / 9
p.8-9 Letter From the President V2 DONE.indd 9
4/5/21 11:18 PM
http://www.cookeoptics.com
http://www.cookeamericas.com
http://www.cookeoptics.tv
http://www.shotoncooke.com
American Cinematographer - May 2021
Table of Contents for the Digital Edition of American Cinematographer - May 2021
Contents
American Cinematographer - May 2021 - Cover1
American Cinematographer - May 2021 - Cover2
American Cinematographer - May 2021 - 1
American Cinematographer - May 2021 - Contents
American Cinematographer - May 2021 - 3
American Cinematographer - May 2021 - 4
American Cinematographer - May 2021 - 5
American Cinematographer - May 2021 - 6
American Cinematographer - May 2021 - 7
American Cinematographer - May 2021 - 8
American Cinematographer - May 2021 - 9
American Cinematographer - May 2021 - 10
American Cinematographer - May 2021 - 11
American Cinematographer - May 2021 - 12
American Cinematographer - May 2021 - 13
American Cinematographer - May 2021 - 14
American Cinematographer - May 2021 - 15
American Cinematographer - May 2021 - 16
American Cinematographer - May 2021 - 17
American Cinematographer - May 2021 - 18
American Cinematographer - May 2021 - 19
American Cinematographer - May 2021 - 20
American Cinematographer - May 2021 - 21
American Cinematographer - May 2021 - 22
American Cinematographer - May 2021 - 23
American Cinematographer - May 2021 - 24
American Cinematographer - May 2021 - 25
American Cinematographer - May 2021 - 26
American Cinematographer - May 2021 - 27
American Cinematographer - May 2021 - 28
American Cinematographer - May 2021 - 29
American Cinematographer - May 2021 - 30
American Cinematographer - May 2021 - 31
American Cinematographer - May 2021 - 32
American Cinematographer - May 2021 - 33
American Cinematographer - May 2021 - 34
American Cinematographer - May 2021 - 35
American Cinematographer - May 2021 - 36
American Cinematographer - May 2021 - 37
American Cinematographer - May 2021 - 38
American Cinematographer - May 2021 - 39
American Cinematographer - May 2021 - 40
American Cinematographer - May 2021 - 41
American Cinematographer - May 2021 - 42
American Cinematographer - May 2021 - 43
American Cinematographer - May 2021 - 44
American Cinematographer - May 2021 - 45
American Cinematographer - May 2021 - 46
American Cinematographer - May 2021 - 47
American Cinematographer - May 2021 - 48
American Cinematographer - May 2021 - 49
American Cinematographer - May 2021 - 50
American Cinematographer - May 2021 - 51
American Cinematographer - May 2021 - 52
American Cinematographer - May 2021 - 53
American Cinematographer - May 2021 - 54
American Cinematographer - May 2021 - 55
American Cinematographer - May 2021 - 56
American Cinematographer - May 2021 - 57
American Cinematographer - May 2021 - 58
American Cinematographer - May 2021 - 59
American Cinematographer - May 2021 - 60
American Cinematographer - May 2021 - 61
American Cinematographer - May 2021 - 62
American Cinematographer - May 2021 - 63
American Cinematographer - May 2021 - 64
American Cinematographer - May 2021 - 65
American Cinematographer - May 2021 - 66
American Cinematographer - May 2021 - 67
American Cinematographer - May 2021 - 68
American Cinematographer - May 2021 - 69
American Cinematographer - May 2021 - 70
American Cinematographer - May 2021 - 71
American Cinematographer - May 2021 - 72
American Cinematographer - May 2021 - Cover3
American Cinematographer - May 2021 - Cover4
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