Lens manufacturer Cooke Optics, with their wide range of gorgeous cinema prime lenses, have been firmly in the PL mount camp for years. But that will change this October when their new mounts ship for the Cooke MiniS4i Cine Lens.
Earlier this year, I had the opportunity to see the Cooke MiniS4i Cine Lenses in action on the set of the feature film The Good Catholic, and take it from me that they shoot a beautiful image. For that project we used the RED Epic Dragon with a Wooden Camera PL mount, but now for the next film we could go with a new Canon EF, Nikon F, Sony E or micro 4/3 mounted Cooke MiniS4i Cine Lens.
Cooke S4/i Cinema Primes on the set of The Good Catholic. Picture: Graham Sheldon
If you are a current owner of these lenses, you’ll be able to unbolt the standard PL mount yourself, bolt on your new mount, and shim to adjust back focus. Come this October you’ll be able to order your lens from the factory with the new mounts pre-attached.
PL Mounts remain the only choice on many larger productions using popular cinema zoom lenses like the Fujinon 19-90mm T2.9 or the Angenieux 30-76mm T2.8, but this move from Cooke Optics will hopefully inspire other manufacturers to build mounts for their flagship cinema lenses as well, versus relying on 3rd party options.
No pricing information yet.
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!
In the second part of this episode featuring lens manufacturers ZEISS, SLR Magic and Samyang, we covered different philosophies when it comes to designing lenses.
I started out by posing the question whether it’s possible or not to design a lens that satisfies both filmmakers and photographers, being able to switch the amount of focus through the lens barrel has. Due to the mechanical design of most professional lenses this is something that seems impossible to achieve though, according to Andrew Chan.
We moved on to lens flares, which are imperfections in lenses that cause light flares when pointed at light sources at some angles. ZEISS and SLR Magic have very different opinions on this topic – where ZEISS tries to eliminate any flares to make lenses “perfect”, SLR Magic invests a lot of time in “getting the flares right”.
JJ Abrams sure loves his flares – here a still frame from “Star Trek” (2009) (copyright Paramount Pictures, all rights reserved)
The final topic covered in this part was the multitude of lens mounts available, and the difficulty this poses for lens manufacturers and customers alike. Samyang for instance offers 12 different lens mounts for their lenses. Andrew from SLR Magic mentions how a lot of customers have problems moving between camera systems because of their prior investment in lenses with a specific mount – which they cannot always change or adapt to the new system.
Watch all other episodes of ON THE COUCH so far by clicking here!
Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to G-Technology, Røde Microphones, Movidiam, FilmConvert & F&V.