Shooting 3D movies with Cooke
Cooke lenses, including the miniS4/i, are the lenses of choice for shooting 3D movies.
It’s vital that both recorded images have exactly the same colour palette to avoid significant, expensive downstream colour grading costs. Cooke has always colour matched every lens it manufactures to a universally high standard.
In addition, the optical qualities of the lenses are vital. Optical aberration, if present, will distort the image and reduce the effectiveness of the 3D illusion, Cooke lenses are all of extremely high optical quality and offer elegant transition in the image without artificial effects like ringing and doubling.
The challenges are even more complex when using zoom lenses, quite apart from the mechanical challenge of ensuring the zoom on each lens the telecentricity of the lens has to be taken into account - each zoom lens will veer around the optical centre in its own way as it zooms in. Cooke lenses have been demonstrated to be consistent and precise in 3D work. The /i data system allows users to quickly setup and synchronize multiple lenses in 3D applications.
The need to use two calibrated cameras creates its own challenges. If they are placed next to each other (as opposed to employing a splitter) at the interocular distance, the size of the camera, diameter and weight of the lens and choice of medium – film or digital – become key questions. With its reduced diameter and weight compared to the S4/i range, the miniS4/i range of focal lengths is an immediately attractive alternative.
Digital vs film
There’s a move towards digital because there is no need to manipulate the film magazine, potentially a cumbersome activity with two closely mounted cameras, which could result in misalignment. Everything from HD to 4K full bit depth resolution is being employed – so the lenses need to be capable of delivering 4K resolution and more. As always more resolution and colour depth is better.
Since many 3D movies are VFX-heavy, the /i interface included as standard with Cooke lenses enables an efficient downstream post production workflow. Lenses may be placed in peril – on crash cars for example. miniS4/i provides a lower cost lens without quality or resolution compromise reducing insurance and repair cost exposure.
With twice as many cameras and lenses on set, kit rental costs rise. miniS4/i’s lower costs help manage production equipment budgets.