The Summer of Jeep

Lens/Camera Information
Lens series: Anamorphic/i
Focus length: 25mm, 32mm, 40mm, 65mm Macro, 75mm, 100mm, 135mm, 180mm
Other Cooke Lens: Anamorphic/i Zoom 35-140mm
Original Aspect Ratio: 2.40:1
Camera: Arri Alexa Mini
Format: Digital
Rental Company: 2020 Camera http://www.2020camera.com

DOP Information
Director of Photography: Jordan Levy http://www.JordanLevy.com
Agent: Radiant Artists http://RadiantArtists.com
Instagram: https://www.instagram.com/jordanlevydp/
Vimeo: https://vimeo.com/jordanlevy
Linkedin: https://www.linkedin.com/in/jordanlevydp/
IMDB: https://www.imdb.com/name/nm0506482/

Production Information
Production: The Summer of Jeep featuring Jeremy Renner
Producers: Gary Rose & Aesli Grandi
Director: Jeff Tomsic
Production Company: Go Film http://www.gofilm.net

DOP Jordan on his lens choice
“In preparing for the “Summer of Jeep” campaign staring Jeremy Renner, Jeff Tomsic (the Director) and I knew that we wanted to create a cinematic, independent film look. I also knew we would need to be versatile, as Jeff had an extensive “what we want to do if there is extra time” wish list. Selecting my favorite Cooke lenses that we utilized on many previous television series together was an easy creative decision for me.

The new Cooke Anamorphic/i primes work so well for me in a modern professional environment, while still maintaining the character of Cooke optics I’ve consistently appreciated through my career.

In keeping with the independent film look, we made the decision to go handheld in the cars with Jeremy rather than utilizing process trailers or car mounts.  We primarily shot in the passenger seat for a profile, or in the back with a “French Over” the shoulder.  One of the best lenses for handheld is the 65mm macro, a lens which I’ve become very comfortable using over the last couple years.  This lens is ideal for close quarters with the subject, and makes it possible to catch amazing detail.

Cooke had also just released a great compliment to the set, a 35-140mm front anamorphic zoom. This lens would prove invaluable on the Pursuit vehicles for product shots. These two lenses really became the workhorses of the production.

From the beginning of my career until now what I can say is that the majority of lenses out there give you a nice clean image, which is fine. Back in the day we piled on filtration to make that outcome look special. The first time I saw the results of using Cooke lenses, I immediately noticed I didn’t have to do anything filtration wise to make it special, it just was. What I love is that while I am still creating and moving forward, so is Cooke Optics.