Cooke Look Archives - Page 2 of 2

The Cooke S7i 32mm attached to the Sony Venice Rialto sensor block extension module for a low angle shot inside a freezer

Netflix’s “Dead to Me”: Large Format Creation Made on Sony Venice and Cooke S7/i

2020-05-18

Discuss

5 mins read

The Netflix original series Dead to Me can be used as a filmmaking reference for how to utilize the Sony Venice and Cooke S7/i lenses to get the full-frame look with all…

Cooke new Lenses to S7/i and Anamorphic/i Full Frame Plus Series

Cooke Introduces new Lenses to its S7/i and Anamorphic/i Full Frame Plus Series

Yossy Mendelovich

2020-04-08

News

1 min read

Cooke announces new focal lengths for its full-frame S7/i series (60mm macro, 90mm macro, 150mm macro, and 300mm full-frame plus), and Anamorphic/i Full Frame Plus Series (180mm). Watch those beauties down below: …

Cinematographer Si Bell and director Anthony Byrne on Peaky Blinders Season 5 set

Peaky Blinders Season 5 Was Shot on RED MONSTRO With the Cooke Anamorphic Primes

Yossy Mendelovich

2019-11-11

Discuss

3 mins read

After four seasons shooting with the ALEXA and spherical lenses, cinematographer Si Bell and director Anthony Byrne wanted a change. Thus moving to Cooke Anamorphic Primes paired with the RED MONSTRO seemed…

Cooke Look - Page 2

Netflix’s “Dead to Me”: Large Format Creation Made on Sony Venice and Cooke S7/i

Cooke Introduces new Lenses to its S7/i and Anamorphic/i Full Frame Plus Series

Peaky Blinders Season 5 Was Shot on RED MONSTRO With the Cooke Anamorphic Primes

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