COOKE ZOOM LENSES
Cooke 10-30mm T/1.5 Ultra Fast Zoom Lens
Super 16mm
There were three different versions of this lens from what I’ve gathered. This is the fastest of the three. At a T/1.5, there is no faster zoom lens. And in my opinion there are very very few that match it’s beautiful rendering. It has a short range at 10-30mm but that’s a sweet spot for a wide to CU field of view. It’s a rare s16 zoom and it’s one of the rarer lenses in existence.
“This is one of the only Super Speed zoom lenses in the world. It’s small and light enough for handheld work. It has excellent close-focus, and really well-controlled focus breathing. It will deliver beautiful lens flares, and it’s as sharp as a primes lens […] In Super-16, 10-30mm is the equivalent field of view of 20-60mm in Super-35. […]
The Cooke 10-30mm has much of the same optical DNA of the legendary Cooke 20-60mm T3.1 [Varotal], but its redesigned rear optical group shrinks the image circle down to Super 16 format […] What that means is that you get the same field of view, depth of field, quality, and flares of the Cooke 20-60mm, but for the super 16 format. Ed Lachman used his own personal Cooke 10-30mm T1.6 along with his personal set of Cooke Speed Panchros to shoot much of the film CAROL.”
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Cooke 20-60mm T/3.1 Zoom Lens
Super 35mmOnce again, the wizards at OLD FAST GLASS said it best:
“The Cooke 20-60mm T3.1 was first sold in 1981 and was described as having “optical performance comparable to prime lenses.” That statement still holds true today. This is arguably the highest performing zoom lens Cooke ever made […] It has no noticeable chromatic aberrations even wide-open, which is something even modern, high-end prime lenses have issues with. It is sharp, but with that classic flattering thing that only Cooke lenses can do.It’s just slightly warmer than neutral. It has a 9-blade iris and they are petal shaped like other Cookes, so the bokeh stopped down is gorgeous. Thanks to the huge front element it flares easily if you want it to, and the lens flares are beautiful. Focus breathing is extremely well controlled and there’s virtually none at the wide end, where breathing tends to be most noticeable.”
Varotal, Taylor Hobson, London, England, Vintage Lenses
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Noah Elliott Morrison is an Emmy Award winning International Cinematographers Guild member. His work has been published in The New York Times, The New Yorker, Rolling Stone, WIRED, VICE, Nikkei, NPR Music, and it has been distributed to theaters worldwide.
As director of photography he has filmed for HBO, ESPN, Amazon Prime, PUMA, The NFL, The Ford Motor Company, General Motors / Chevrolet, eBay, The Detroit Red Wings, Pabst Blue Ribbon, and many others. Morrison is an experienced 16mm film shooter. He is a licensed drone pilot, geared head camera operator, and he is a local to Michigan (Detroit) & New York – NYC.
Prior to filmmaking, he produced and directed in a variety of administrative positions for arts nonprofits in Detroit, Michigan and Shijiazhuang, China. He is a multi-instrumentalist, performer, and has recorded many musicians including Danny Kroha for Third Man Records. A Documenting America: Detroit Fellow, Morrison holds a Bachelor of Fine Arts. See the available owner / operator equipment below, and reach out if interested in a Detroit studio rental.
ARRIFLEX s16 Camera Package
Super 16mm Modified Film Camera
x3 400′ Magazines + Accepts 100′ Spools
Lightweight + Electric Motor
DIGITAL Monitor Assist
RECORDING digital proxy system
Gold Mount Battery System
PL Mount + Crystal Sync
Cinema Zooms
Cooke VaroPanchro 10-30mm T/1.5 (s16)
Angenieux Optimo 15-40mm T/2.6 (s35)
Angenieux 19-360mm T/4.5 19x Zoom + Doubler (s35)
Angenieux 14-160mm HR T/4.5 11.5x Zoom (s35)
Angenieux 7-81mm HR T/2.4 11.5x Zoom (s16)
Angenieux 10-195mm T/2.4 (19x Zoom) + Doubler (s16)
Canon 8-64mm T/2.4 “Hurt Locker” 8x zoom (s16)
Canon 16-125mm T/4.5 8x zoom (s35 / FF)
Leica R 28-90mm f/2.8-4.5 ASPH Full Frame (EF/LPL)
Rehoused Leica R 70-180mm f/2.8 APO Full Frame (EF/PL)
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4mm T/2.8 (Custom) s16
6mm T/1.3 ARRI Zeiss ULTRA 16 s16