Cooke Lenses Give “HALIFAX: Retribution” Its Suspenseful Look July 10^th 2020 - 12:05 PM

Cinematographer Geoffrey Hall ACS used Cooke Optics’ S7/1 Full Frame Plus prime lenses to shoot “Halifax: Retribution”, a reboot of a popular Australian TV crime drama series, Halifax f.p. that ran from 1994-2001 on Channel Nine.

HDR - Part 11 - Large Format Viewfinders July 9^th 2020 - 09:00 AM

The image of a director crouching to line up a shot with an optical viewfinder is one that’s been pushed aside somewhat by the less romantic modern image of a director squinting at an LCD monitor. The monitors have a lot to recommend them – in an ideal world, they can

Sports Re-Starts Without Fans And The Virtual Crowd Goes Wild July 2^nd 2020 - 09:00 AM

In mid-May of this year, as countries such as Germany, England, and Spain considered easing COVID-19 restrictions to allow professional sports to resume, various professional sports leagues began discussions with broadcasters and production companies on the best way to televise games without fans in the seats. They’re called “ghost gam

Creative Analysis - Part 2 - Penny Dreadful From The Cinematographer June 17^th 2020 - 09:00 AM

For anyone who’s seen the first series to bear the title, the name Penny Dreadful will conjure up images of occult happenings in a shadowy, late-Victorian world. After twenty-seven episodes across three highly successful seasons, Showtime aired the last episode of Penny Dreadful in June 2016. By November 2018, the network h

Cooke Lenses Capture Netflix Series “Lost In Space” June 15^th 2020 - 01:50 PM

DP Sam McCurdy, BSC chose Cooke Optics’ 5/i lenses to shoot the second season of “Lost In Space”, the popular Netflix sci-fi TV show which follows the adventures of a family of space-colonists whose spaceship veers off-course.

Cinematographer Captures “Penny Dreadful: City of Angels” With Cooke Primes June 8^th 2020 - 11:00 AM

When it came time for cinematographer John Conroy to develop the look for Showtime’s Penny Dreadful: City of Angels” spin-off, he already had eight episodes of lensing the original Penny Dreadful under his belt. A major part of the look for the spin-off would come from using Cooke Optics S4/

HDR - Part 10 - Large Format Cinematography And Lenses June 3^rd 2020 - 09:00 AM

Most film and TV jobs start with some simple questions, as Gregory Irwin puts it. “What is it, where is it, when is it.” In April 2018 Irwin found himself asking those questions of cinematographer Lawrence Sher, with whom he’d collaborated on five previous films beginning with John Hamburg’s I Love

Cinematographer David Pimm Captures “Save Me Too” With Cooke Lenses May 21^st 2020 - 10:00 AM

Cinematographer David Pimm used a set of Cooke Optics Panchro/i_Classic lenses for “Save Me Too,” the follow up to Sky Atlantic’s BAFTA-nominated and RTS award- winning first series “Save Me.”

Creative Analysis - Part 1 - The Nest From The DOP May 20^th 2020 - 09:00 AM

Glasgow in December is a place and a time with a particular look, and The Nest is a production which enthusiastically embraces that aesthetic. Broadcast in the UK beginning in March 2020, it was produced for the BBC by Studio Lambert as five one-hour episodes featuring a couple, played by Martin

Matthews Intros New Docking System May 18^th 2020 - 01:00 PM

Clever system combines popular products to create a new solution.