cooke Archives - Page 3 of 4 - Y.M.Cinema Magazine

Indie Filmmaking With the Phantom Flex4K and Cooke S4/i

by

2020-12-28

Educate

3 mins read

When we think about indie filmmaking, we imagine a shooter with a DSLR or mirrorless with a still lens on a gimbal, not because they are cheaper, but mainly because the operation…

Black & White cinematography: ALEXA Mini and Cooke Panchro/i Classic

Black & White Cinematography With ALEXA Mini and Cooke Panchro/i Classic

by

Yossy Mendelovich

2020-12-03

Discuss

3 mins read

Black & White is the new color. Many DPs are trying to implement the artistic and most challenging black and white imagery. In this article, the black and white low budget drama,…

Legacy of Lies: The ALEXA Mini and Cooke Anamorphic/i

ALEXA Mini and Cooke Anamorphic/i Combined to Enhance Action Shots in Legacy of Lies

by

Yossy Mendelovich

2020-09-29

Educate

3 mins read

The ALEXA Mini paired with the mighty Cooke Anamorphic/i were the cinematic tools used to enhance the action shots in spy thriller Legacy of Lies, awarding it the blockbuster look (and feel).…

Sony Publishes the VENICE Remote Operation Cinematography Guide

by

Yossy Mendelovich

2020-08-20

Educate

3 mins read

Sony has released a new guide titled “VENICE Remote Operation Cinematography Guide” which focuses on the new era of social distancing in film productions. Pandemic aside, this guide constitutes a useful piece…

The Lenses Behind Emmy 2020: Cooke, Zeiss, ARRI, Leica, and Panavision in the Lead

by

Yossy Mendelovich

2020-08-13

Discuss

2 mins read

After exploring the cameras that used to shoot 72nd Emmy Awards’ Outstanding Cinematography Nominees, now it’s the time to analyze the data regarding lenses. Although were are not surprised about Panavision leading…

Ozark cinematography (season 3): DP Armando Salas, ASC and DP Ben Kutchins. Camera: Sony VENICE. Lenses: Leica R.

Ozark Cinematography: From Super 35 (Varicam) to Full Frame (VENICE)

by

Yossy Mendelovich

2020-08-04

Educate

3 mins read

What are the reasons Ozark’s DP, Ben Kutchins, has decided to switch over to the Sony VENICE when shooting season 3 after two seasons shot extensively with the Panasonic Varicam? Thanks to…

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

by

Yossy Mendelovich

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

by

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: …

Shooting The Dark Crystal. Cinematographer Erik Wilson. Picture credit: Kevin Baker, Netflix

Netflix’s The Dark Crystal was Shot on Specially Modified RED Cameras With Cooke Anamorphic/i Lenses

by

Yossy Mendelovich

2020-03-12

Educate

4 mins read

In order to get the majestic imagery of Netflix’s Dark Crystal, a unique combination of the Cooke Anamorphic glass with specially made RED Dragon was used. Cinematographer Erik Wilson explains the creation…

Shooting for IMAX: Cuba. Cooke S7/i and the ALEXA LF. Credit: Golden Gate 3D

IMAX Filmmaking: Here’s How to Shoot for the Giant Screen

by

Yossy Mendelovich

2020-02-17

Educate

6 mins read

Considering to screen your film on IMAX theater? Then you should read this article, which summarizes cinematographer and director Peter Chang’s insights. Chang shot his IMAX film, Cuba, on various cameras paired…

cooke - Page 3

Indie Filmmaking With the Phantom Flex4K and Cooke S4/i

Black & White Cinematography With ALEXA Mini and Cooke Panchro/i Classic

ALEXA Mini and Cooke Anamorphic/i Combined to Enhance Action Shots in Legacy of Lies

Sony Publishes the VENICE Remote Operation Cinematography Guide

The Lenses Behind Emmy 2020: Cooke, Zeiss, ARRI, Leica, and Panavision in the Lead

Ozark Cinematography: From Super 35 (Varicam) to Full Frame (VENICE)

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

Netflix’s The Dark Crystal was Shot on Specially Modified RED Cameras With Cooke Anamorphic/i Lenses

IMAX Filmmaking: Here’s How to Shoot for the Giant Screen

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