DEFINING CINEMATIC EXCELLENCE - COOKE OPTICS

Cooke Optics, a trailblazer in cinematography lens design and manufacturing since its establishment in 1893, holds a storied legacy in shaping cinematic visuals. The company’s pioneering “Cooke Look,” celebrated for over a century, has left an indelible mark on motion picture imagery. Operating from its base in Thurmaston, Leicester, United Kingdom, Cooke Optics remains a driving force, redefining lens technology with a focus on sharpness, subtlety, and smoothness.

Cooke Optics’ innovation journey began with the inception of the Cooke triplet lens in the 1890s, a stepping stone that paved the way for iconic products like the Cooke S4s and original Panchro lenses. Through the fusion of tradition and cutting-edge technology, the company continuously pushes the boundaries of filmmaking. Their commitment to preserving their legacy while embracing the future serves as a testament to their enduring influence in the world of cinema.

In the interview, Carey Duffy, Director of Product Experiences at Cooke Optics, the collaborative innovation between Cooke and EZtrack is explored, unveiling a seamlessly integrated system that merges diverse data sources for real-time use in cinematography. This pioneering method allows near-real-time visualization of post-VFX shots during filming, blurring the distinction between production and postproduction. The integration encompasses camera movement tracking, lens mapping, and data aggregation, reshaping on-set practices and facilitating enhanced visual feedback for directors. Highlighting their debut film “Comandante,” which harnessed this technology, the interview underscores the transformative impact on workflows and the potential expansion of anamorphic lens utilization in VFX-intensive projects. The optimistic industry response underscores the potential of this partnership to shape the future of filmmaking.

What are the key features of the seamlessly integrated system developed by Cooke and EZtrack? 

I’ll paraphrase Kevin Tod Haug, the VFX designer for “Comandante” on how the system was used: