American Cinematographer - November 2016 - 76

New Products & Services
Cooke Goes Classic
Responding to the ongoing high
demand for the company's vintage
Speed Panchro lenses from the 1920s'60s, Cooke Optics has announced the
Panchro Classic line, which uses the original lens design but with PL mounts for
modern cameras.
Designed by Horace W. Lee in the 1920s, the original Cooke
Speed Panchro was a cine prime lens that chromatically enhanced
an image when filming under restricted illumination. Cooke Speed
Panchros combined a relative aperture as wide as f2.0 with definition and an angular field of view previously impossible with smaller
apertures. They quickly gained a worldwide reputation for quality
cinema production and were widely used throughout the 20th
century.
"People still 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," says ASC associate Les
Zellan, chairman and owner of Cooke Optics. "In response to this,
we have taken the original design and created a new housing to fit
a PL mount. The new Panchro Classic lenses will have the same look
and feel that people love about the originals."
Cooke Optics has also introduced multiple mounts for its
miniS4/i lenses. The new mounts include Canon EF, Nikon F, Sony E
and micro 4⁄3, enabling productions working with mirrorless cameras
to take advantage of the "Cooke Look."
A single mount will fit every focal-length lens in the miniS4/i
series; for existing miniS4/i lenses, users can simply unbolt the PL
mount that comes as standard, bolt on the replacement mount, and
shim as required. The mounts can be used on any miniS4/i lens,
regardless of delivery date. For new miniS4/i deliveries, the lenses are
available with the mount of choice from the factory.
"The miniS4/i lenses are steadily gaining popularity for many
genres of production, since they have all the coveted attributes of
Cooke prime lenses in a smaller, lighter and more affordable form,"
says Zellan. "With the introduction of these interchangeable
mounts, we can now bring the Cooke Look to many more cameras
and productions, giving even more choice to directors of photography."
For additional information, visit www.cookeoptics.com.

76

November 2016

* SUBMISSION INFORMATION *
Please e-mail New Products/Services releases to
newproducts@ascmag.com and include full contact
information and product images. Photos must be
TIFF or JPEG files of at least 300dpi.

Cinefade Controls Depth of Field
In partnership with
Cmotion GmbH of Vienna,
Austria, London-based
filmmaker Oliver Janesh
Christiansen has developed
the Cinefade system,
which enables cinematographers to vary the sharpness of the background in
a motion-picture shot
while maintaining constant
exposure and keeping the
foreground subject in focus.
Cinefade enables an in-camera effect that can immerse viewers in a story or make a client's product stand out in a commercial.
The system gives cinematographers the opportunity to explore the
creative potential of a variable depth of field. As Christopher Ross,
BSC says, "Cinefade is a really useful and subtle tool to use in
moments of extreme drama."
Cinefade uses a custom Cmotion lens-control system to vary
iris diameter, changing the depth of field. The iris motor is slaved to
a filter motor that controls a custom-built variable neutral-density
filter, which sits inside a matte box and keeps exposure constant. The
system works with any digital or film camera and cine lens, is quick
and easy to set up, is simple to operate, and allows for a range of up
to 5 T-stops
Cinefade is currently being used on TV dramas, feature films,
commercials and music videos. The system is available to rent via
Clairmont Camera in Los Angeles and directly through Cinefade.
For additional information and to watch a video demonstration, visit www.cinefade.com.
TheLight Expands Velvet Mini Range
Following the successful launch of the company's Velvet Mini
2 half-panel LED fixture, Barcelona-based TheLight has introduced
the Velvet Mini 3. The panoramic LED panel shares the same features
as the full-sized Velvet line, including a rainproof, 100-percent
aluminum body; silent, fanless operation; and an intuitive
control panel.
Measuring 34" long, 7.5"
wide and 3.5" deep, the Velvet
Mini 3 draws 150 watts, outputs
42 footcandles at 10' and
weighs only 9.5 pounds. This
lightweight panel can be
quickly rigged in tight locations
or low-ceiling studios, and it

American Cinematographer


http://www.cinefade.com http://www.cookeoptics.com

American Cinematographer - November 2016

Table of Contents for the Digital Edition of American Cinematographer - November 2016

Contents
American Cinematographer - November 2016 - Intro
American Cinematographer - November 2016 - Cover1
American Cinematographer - November 2016 - Cover2
American Cinematographer - November 2016 - 1
American Cinematographer - November 2016 - 2
American Cinematographer - November 2016 - Contents
American Cinematographer - November 2016 - 4
American Cinematographer - November 2016 - 5
American Cinematographer - November 2016 - 6
American Cinematographer - November 2016 - 7
American Cinematographer - November 2016 - 8
American Cinematographer - November 2016 - 9
American Cinematographer - November 2016 - 10
American Cinematographer - November 2016 - 11
American Cinematographer - November 2016 - 12
American Cinematographer - November 2016 - 13
American Cinematographer - November 2016 - 14
American Cinematographer - November 2016 - 15
American Cinematographer - November 2016 - 16
American Cinematographer - November 2016 - 17
American Cinematographer - November 2016 - 18
American Cinematographer - November 2016 - 19
American Cinematographer - November 2016 - 20
American Cinematographer - November 2016 - 21
American Cinematographer - November 2016 - 22
American Cinematographer - November 2016 - 23
American Cinematographer - November 2016 - 24
American Cinematographer - November 2016 - 25
American Cinematographer - November 2016 - 26
American Cinematographer - November 2016 - 27
American Cinematographer - November 2016 - 28
American Cinematographer - November 2016 - 29
American Cinematographer - November 2016 - 30
American Cinematographer - November 2016 - 31
American Cinematographer - November 2016 - 32
American Cinematographer - November 2016 - 33
American Cinematographer - November 2016 - 34
American Cinematographer - November 2016 - 35
American Cinematographer - November 2016 - 36
American Cinematographer - November 2016 - 37
American Cinematographer - November 2016 - 38
American Cinematographer - November 2016 - 39
American Cinematographer - November 2016 - 40
American Cinematographer - November 2016 - 41
American Cinematographer - November 2016 - 42
American Cinematographer - November 2016 - 43
American Cinematographer - November 2016 - 44
American Cinematographer - November 2016 - 45
American Cinematographer - November 2016 - 46
American Cinematographer - November 2016 - 47
American Cinematographer - November 2016 - 48
American Cinematographer - November 2016 - 49
American Cinematographer - November 2016 - 50
American Cinematographer - November 2016 - 51
American Cinematographer - November 2016 - 52
American Cinematographer - November 2016 - 53
American Cinematographer - November 2016 - 54
American Cinematographer - November 2016 - 55
American Cinematographer - November 2016 - 56
American Cinematographer - November 2016 - 57
American Cinematographer - November 2016 - 58
American Cinematographer - November 2016 - 59
American Cinematographer - November 2016 - 60
American Cinematographer - November 2016 - 61
American Cinematographer - November 2016 - 62
American Cinematographer - November 2016 - 63
American Cinematographer - November 2016 - 64
American Cinematographer - November 2016 - 65
American Cinematographer - November 2016 - 66
American Cinematographer - November 2016 - 67
American Cinematographer - November 2016 - 68
American Cinematographer - November 2016 - 69
American Cinematographer - November 2016 - 70
American Cinematographer - November 2016 - 71
American Cinematographer - November 2016 - 72
American Cinematographer - November 2016 - 73
American Cinematographer - November 2016 - 74
American Cinematographer - November 2016 - 75
American Cinematographer - November 2016 - 76
American Cinematographer - November 2016 - 77
American Cinematographer - November 2016 - 78
American Cinematographer - November 2016 - 79
American Cinematographer - November 2016 - 80
American Cinematographer - November 2016 - 81
American Cinematographer - November 2016 - 82
American Cinematographer - November 2016 - 83
American Cinematographer - November 2016 - 84
American Cinematographer - November 2016 - 85
American Cinematographer - November 2016 - 86
American Cinematographer - November 2016 - 87
American Cinematographer - November 2016 - 88
American Cinematographer - November 2016 - Cover3
American Cinematographer - November 2016 - Cover4
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