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  1. Press release: Cooke Optics launches S8/i FF spherical lenses for full frame production New lens series is a state-of-the-art statement for the future Leicester, UK – 16th March 2022 – Cooke Optics has announced the launch of the S8/i Full Frame (FF) series of seven lenses for full frame production with an all-spherical design and T1.4 throughout, these currently include 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm focal lengths. A further nine lenses will join the range from late 2022. The S8/i are a cutting edge, state-of-the-art high-speed full frame lenses motivated by feedback from cinematographers wanting to create more realistic and film-like images with spherical lenses for digital motion capture. An evolution of the Cooke Look®, S8/i produces breathtakingly beautiful images with an almost organic feel and a clean bokeh. To achieve this, Cooke has focussed on optimising the contrast performance for the S8/i. Good resolution is, of course, vital with a modern lens. Crucially, human perception of resolution is tied to contrast, so an observer will perceive a sharp image due to the synergy and balance of both. Creating film-like images and the Cooke Look®, requires the optimisation of contrast. Cooke’s design team - and Academy Award® winning designer Iain Neill, Chief Optics Advisor at Cooke - undertook a huge study to ensure S8/i’s contrast performance is maximised to suit the actual resolution of digital cameras (today and indeed for many years into the future). Under the body, S8/i is an all-spherical design which produces a near telecentric output of the light rays which is efficient for sensors. It is characterised by smooth, spherical bokeh and minimal colour fringing, enabling cinematographers to create sensitive and emotional images with a high degree of dimensionality. FasterWith a maximum aperture of T1.4 across the focal range, the new S8/i FF lenses are amongst the very fastest produced lenses for larger than full frame capture. They also offer greater control over depth of field and flare characteristics, whilst still providing excellent low light performance without graining.LighterCompact and light, agile and easy to use, the new S8/i FF lenses have been created for a wide variety of situations and today’s compact cameras. Being lighter, however, has not compromised strength, durability, or their exceptional image quality.SmarterDesigned from the ground up to incorporate Cooke’s very latest intelligent /i technology, the new S8/i FF lenses include: • /i data focus and iris position• /i motion inertial data• /i maps factory calibrated shading and distortion dataTim Pugh, CEO, Cooke Optics, said, “We are very proud to reveal the new S8/i FF series, built as always with cinematographers in mind. The lenses have been designed and produced in a smart way using an all-spherical design which provides an organic, filmic aesthetic to accompany the latest digital film cameras.” The S8/i FF series is now available to order in the following focal lengths: 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm.Selected focal lengths will be available to view at BSC Expo in London in March and NAB in Las Vegas and Micro Salon AFC in Paris in April. Features in production or recently shot with Cooke lenses include: The Water Man, We Are Lady Parts, Mayday, Birds of Paradise, The Sixth Reel, No Loss//No Gain, The Marksman, Fugitive Dreams, Supernova, I Still Breathe, Legacy of Lies, I Know This Much is True, Pinocchio, Onward, Toy Story 4, Birds of Prey: and the Fantabulous Emancipation of Harley Quinn, Motherless Brooklyn, Sweetheart, Vice, Bohemian Rhapsody, A Star Is Born, Venom, Call Me By Your Name, Motherless Brooklyn, Stan and Ollie, Darkest Hour, Mark Felt: The Man Who Brought Down the White House. Television shows in production or recently shot with Cooke lenses include: King of Boys: The Return of the King, Star Trek: Discovery, Power Book III: Raising Kanan, Kevin Can F**K Himself, Meet Your Master, Below Zero, Fate: The Winx Saga, Behind Her Eyes, Barb and Star go to Vista Del Mar, A Suitable Boy, The Mess You Leave Behind, Flight Attendant, The Chosen, The Great, HALIFAX: Retribution, The Luminaries, Lost in Space, Star Girl, Dead to Me, Save Me Too, Insecure, Dark Crystal, Star Trek: Picard, Peaky Blinders, Osmosis, Top Boy, David Makes Man, Catch-22, The Perfection, Ozark, Gentleman Jack, Free Rein, Skam France, Doctor Who, Fleabag, Kevin (Probably) Save the World, The Crossing, The Crown, Westworld, Poldark, Game of Thrones, Midsomer Murders, Orange is the New Black and Fargo.
  2. Press Release: Vazen launches the 50mm T2.1 1.8X Anamorphic Lens in PL/EF mount for Full Frame cameras Vazen has unveiled the 50mm T2.1 1.8X anamorphic lens, adding a ultra wide angle option to its full frame EF/PL 1.8x anamorphic lens line-up. The new Vazen 50mm T2.1 is designed to cover large format cinema cameras like Red Monstro, Alexa LF, Kinefinity Mavo LF and Z-CAM E2-F8 fully. A 135mm lens is expected to be ready to ship in 1-2 months to complete a 3-lens set (50 – 85 – 135) in phase 1. The new 50mm features a super compact and lightweight design. Weighing merely 3.42 pounds (1.55kg) and 5.24” long (13.3cm), it is one of the world’s smallest 1.8x anamorphic lens for full frame cameras. Its compactness allows it to be balanced on gimbals and rigs very easily. The 50mm has the same focus and aperture position as the 85mm for easy lens switching on set. And a consistent 86mm front filter thread is handy for ND filters or diopters installation. The front diameter is a standard 95mm for matte box mounting. The entire lens is built up of aluminum and the independent aperture and focus rings are incorporated with 0.8 mod cine gears. The lens is available in an interchangeable PL and EF mount. Both mounts and shims can be found with the lens in a Vazen hard case. All Vazen 1.8x anamorphic lenses feature a front anamorphic design. It delivers a buttery smooth oval bokeh, signature blue, but not over saturated, horizontal flare and the widescreen cinematic look. The lens also features a ultra-wide 65? horizontal field of view (similar to a 28mm spherical lens) and the closest focusing distance is 3.6” from sensor. The lens delivered outstanding sharpness, even at wide open, which is unparalleled by other PL/EF anamorphic lenses with the similar squeeze ratio. Vazen chose to adopt a 1.8x squeeze design to balance the anamorphic characters as well as the resolution of the image. The 1.8x squeeze can producee a cinematic widescreen 2.39:1 aspect when paired up with 4:3 sensors. When paired up with 16:9 sensors, much less data (than 2X anamorphic lens) is needed to be cropped away to create the desired 2.39:1 ratio. Pricing & Availability The lens is currently available to order from authorized resellers and from Vazen website (http://www.vzlens.com/). It is available to ship in late August. Free Priority shipping provided. The retail price in US is USD 8,000/pc. A $2,000 discount will be offered for a 2-lens (50 + 85) purchase. Product Page https://vzlens.com/product/vazen-50mm-t2-1-1-8x-anamorphic-lens/ Specifications Focal Length50mm T-stop range - T/2.1 – T/16 Angle of View - Around 65 degrees (Horizontal) Format Compatibility - Full Frame and Super35 Filter Thread - 86mm Front Diameter - 95mm Min. Focusing Distance - 1.1 m (3.6 feet) Dimensions - 9.5 x 13.3 cm Weight - 1.55 kg (3.42 lbs) Mounts - PL / EF (User Inter-changeble)
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