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[H1] AP3 - Bring More to Your Story
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[H4] AP3 features

Three full frame anamorphic primes designed from the ground-up for mirrorless cameras.
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[H4] AP3 imaging

AP3 brings the optical pedigree of Cooke’s high-end anamorphic lineage into a compact, lightweight series built for modern mirrorless cameras.
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[H4] AP3

[H4] SP3

[H4] Panchro 65/i

[H4] S8/i FF

[H3] Colour: Chromatic Worlds - Cooke Gallery London

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[H2] Discover the world of Cooke
Step into the world of Cooke, where we share the latest updates straight from our hub of innovation. From product news to production stories, events and press highlights, Cooke World is your go-to source for staying in the loop with all things us.
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[H3] Cooke Events

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[H5] KIKO Milano

[H6] Director of Photography: Gareth Munden

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[H5] 4DWN

[H6] Chris Naum

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[H5] Kneecap

[H6] Ryan Kernaghan

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[H5] Breakthrough

[H6] Directors of Photography: Remy & Andrew Neymarc

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[H5] The Last Repair Shop

[H6] Director of Photography: David Feeney-Mosier

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[H5] Frybread Face and Me

[H6] Director of Photography: Peter Simonite, ASC, CSC

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[H5] Helene

[H6] Director of Photography: Rauno Ronkainen FSC

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[H5] The Thing - Country Song II (music video)

[H6] Director of Photography: Piero Basso, AIC

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[H5] Deloitte - Only See Possible

[H6] Director of Photography: Matthew J. Smith

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[H3] A Pale View of Hills - Shot on Cooke S8/i FF

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Blog
[H2] Filmmaking with a single lens
Read our in-depth article about the art and history of filmmaking with single focal length lens.
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[H2] Cooke S8/i FF
How Cooke’s S8/i FF lenses support the modern cinematography aesthetic

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Cooke Products
[H2] The Panchro Look
The original Speed Panchro series holds a well deserved place in film history. Cooke Panchro/i Classics were created to achieve this coveted look with modern optical science and mechanics.
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[H4] Cooke Gallery: Colour

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[H4] Cooke History

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[H4] Cooke Factory

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[H4] Showrooms

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[H1] Cooke Events
At Cooke, we regularly host events at our showrooms in London, Burbank, Hyderabad, and Beijing, bringing together filmmakers, students, and industry professionals. Our events cover a wide range of topics, from educational workshops for students to hands-on lens demonstrations for cinematographers and insightful panel discussions featuring special guests.

Each event offers a unique opportunity to explore Cooke lenses up close, engage with our expert team, and gain valuable industry knowledge in an interactive setting. Whether you're looking to refine your craft or connect with fellow creatives, our events are designed to inspire and inform.

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[H2] Cooke London

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[H6] March 20, 2025 - Re-defining the vintage look – Cooke S8/i
[H5] This event will showcase the exceptional qualities of the S8/i FF lens range, crafted to produce an organic, film-like aesthetic with the modern cinematographer in mind. See firsthand why the S8/i’s have been described as representing the best of both modern and vintage lenses. 13:00 – 18:00

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[H6] April 23, 2025– Close Focus
[H5] Experience the unmatched precision of our dedicated 1:1 Cooke Macro/i FF lens series and flagship S8/i FF lenses at our London Test Space. Explore their exceptional close-focus capabilities firsthand on a set designed to highlight their full potential. 11:00 - 17:00.

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[H6] June 25, 2025 - Bring Your Own Camera: Experience Panchro
[H5] Our open house day is the perfect chance to compare and test out our latest Panchro/i Classic and SP3 lenses. Discover firsthand what makes 'The Panchro look'. 13:00 - 17:30

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[H6] July 1, 2025 - Mastering Filters: Optical Experience Day with Tiffen Filters and CVP
[H5] This hands-on event offers a unique opportunity to explore and test an extensive selection of Tiffen Diffusion and FX filters, paired with Cooke Cine Lenses and SP3 mirrorless primes. 10:00 - 17:00.

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[H6] July 29, 2025 - Exploring the Kit that Made Netflix’s Adolescence
[H5] This event offers a unique opportunity to get hands-on with the DJI Ronin 4D paired with Cooke SP3 lenses, the same combination used on the acclaimed Netflix drama Adolescence. 10:00 - 13:00 and 14:00 - 17:00.

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[H6] March 5, 2026 - International Women's Day Gathering
[H5] A social gathering for members of the Ladybirds and Women behind the Camera communities for film and TV at Cooke Optics. 18:00 - 22:00.

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[H6] April 13, 2026 - Tilta x Cooke In Focus Roadshow
[H5] Join us at Cooke London alongside Tilta and Sony for an exclusive, hands-on opportunity to try the brand-new Tilta E-PL autofocus adapter.

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[H2] Cooke Hyderabad

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[H6] March 24-25, 2025 – People Media Academy
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On the 24th and 25th, we are conducting a workshop for (People Media Academy Film School), in collaboration with RED Digital Cinema. During the workshop, we will be showcasing the SP3 Lenses, 18-100mm, on the RED Raptor, covering both lens and camera information. 11:00 - 15:00

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[H6] Aprill 10-11, 2025 - SP3 Workshop with RIFTI Film School
[H5] A workshop for RIFTI Film School (Rotomaker International Film & Television Institute)
We will be showcasing Cooke SP3 lenses (18-100mm set) paired with Sony, RED, and Fujifilm GFX cameras, offering students a hands-on experience.

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[H6] April 14, 2025 - Vijay Cinematography Academy Film school workshop
[H5] Cooke is hosting a workshop to test SP3 lenses with Vijay Cinematography Academy Film school in Hyderabad.

Students will be able to test SP3 lenses alongside Sony RED and Fujifilm cameras.

register here
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[H6] May 9, 2025 - SP3 Education Workshop with Momentz Photography Film School
[H5] An opportunity for students to get the opportunity to explore the Cooke SP3 lenses with Sony and RED cameras. 10:00 - 18:00.

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[H6] July 25, 2025 - SP3 Education Workshop with FTIH Film School
[H5] Students from FTIH Film School are invited to explore the Cooke SP3 lenses alongisde Sony cameras. 10:00 - 13:00.

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[H6] August 21, 2025 - SP3 Workshop with Restart Academy Hyderabad
[H5] We will be welcoming students from Restart Academy, Hyderabad to our Cooke Optics Experience Centre for a day to test out the Cooke SP3 mirrorless primes. 10:P00 - 14:00.

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[H6] September 12, 2025 - SP3 Workshop with Shailesh Cinematography Academy
[H5] We are hosting a Cooke SP3 Workshop for students of Shailesh Cinematography Academy, Hyderabad, at our Cooke Experience Center.

Register here
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[H6] September 23, 2025 - SP3 Workshop with Raw Learn Creator Film School
[H5] We are hosting a Cooke SP3 Educational workshop on the Cooke SP3 lenses for Raw Learn Creator Film School at our Cooke Experience Centre.

Register here
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[H6] November 26, 2025 - SP3 Workshop with Shaft Media Academy
[H5] At Cooke Hyderabad, guests are invited to test the SP3 series alongside the Sony FX3, including demonstrations on mount-change.

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[H2] Cooke Burbank

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[H6] April 3, 2025 - Cooke /i Insights: The Cooke Look & Lens Metadata
[H5] This event is a deep dive into the evolution of cinematic lenses, lens metadata, and how it is paving the way for virtual cinematography. 17:00 - 20:00.

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[H6] May 22, 2025 - Experience Panchro: The Ultimate Vintage
[H5] Join us for a hands-on look at the Panchro family including Panchro/i Classic and SP3 lenses — where vintage character meets modern performance. 18:00 - 21:00.

Register here
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[H6] August 21, 2025 - Bokeh Brew: a Lens Tasting Event
[H5] Join us at Cooke Burbank for a unique twist on lens testing—a curated “Lens Tasting” experience to compare different Cooke lens series. 16:00 - 20:00.

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[H6] October 16, 2025 - The Future in Focus: Cooke SP3 & DJI Ronin 4D
[H5] Go Behind the Lens of the Emmy Award-winning series Adolescence at our next Cooke Burbank Open House. 19:00-21:00.

Register here
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[H6] November 5, 2025 - Cooke & Sony Showcase
[H5] Test out a variety of Cooke glass including SP3, S8/i, Panchro/i Classic and more alongside the Sony VENICE 2, Rialto Mini, FX2 and FX6 cameras.

Register here
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[H6] April 15, 2026 - Cooke /i insights: Lens metadata & the future of VFX integration
[H5] We are be hosting an exciting first opportunity to look at the Cooke lens distortion plugin for Nuke. We will host a discussion on the /i Technology ecosystem followed by hands-on time with Cooke lenses.

Register here
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[H2] Cooke Beijing

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[H6] June 6, 2025 - Exploring the Charm of Macro Lenses
[H5] Explore and compare our dedicated 1:1 Macro/i FF lens range alongside other Cooke lenses to see their incredible up-close capabilities. 13:00 - 18:00.

Register here
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[H6] May 23, 2025 - Cinematographer Lucy Tung on the Female Perspective in Filmmaking
[H5] Discover the female perspective in filmmaking through the lens of celebrated Director of Photography Lucy Tung, as she shares her creative journey and experience working with the Cooke SP3 lenses. 13:00-17:00.

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[H3] Birth of a legend
Invention is in the Cooke DNA right from inception over 120 years ago. It began when H. Dennis Taylor, an optical manager of T. Cooke & Sons of York, attempted to eliminate the distortion at the outer edge of lenses destined for astronomical telescopes. In 1893 Taylor designed and patented the Cooke Triplet (British patent no. 1991) – an elegant solution to the design issues that plagued lens designers of the era. A year later, the first Cooke photographic stills lens was engineered and sold under the Cooke brand name. The Triplet was not only the blueprint for lenses at Cooke but a design used almost universally for lenses of intermediate aperture worldwide.

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Cooke Triplet Series II-f6.5-1908: Cutaway cross-section of early Cooke lens of Cooke Triplet design offering critically fine definition right up to the margins of the photographic plates.

[H3] Revolutionising Cinematography
Just a few years after launch, Cooke already had a reputation for excellence. A lens catalogue of 1897 reads:
[H4] “We guarantee Cooke lenses to be equal to the best of the more complex anastigmats and are glad at any time to facilitate comparison.”
When the first silent movies rolled off the production line in Hollywood, they did so with an evolution of the triplet, the Speed Panchro. Early studio Famous Players-Lasky (later becoming Paramount) standardised production on Cooke lenses to make classics like The Sheik (1921) starring Rudolph Valentino. Charlie Chaplin made perhaps his greatest film, Modern Times, with a Cooke set. So, when Martin Scorsese paid homage to the birth of the movies in his 3D drama Hugo (2011) it was only natural his DP Robert Richardson ASC selected Cooke.

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The Cooke Speed Panchro Series O-f2-1924: These lenses were a development of the Cooke Series O lens (1924 model shown here). The Series O lenses were the first to be designed with an aperture of f/2.0.

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[H3] Shackleton Antarctic Expedition
Their ability to withstand extreme climatic and atmospheric conditions made Cooke lenses the choice for many expeditions including the famous Imperial Trans-Antarctic Expedition led by Sir Ernest Shackleton (1914-16). The expedition’s official photographer, Frank Hurley, chose a Graflex camera fitted with a Cooke 12 inch f 3.5 lens and 6 3/4 x 8 1/2 inch and 4 3/4 x 6 1/2 inch glass negatives to capture the day-to-day life endured by the men. Hurley, who was marooned on Elephant Island along with 21 crew for five months until rescue, was able to present many pioneering images of the expedition on his return.

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Hurley, Frank: Frank Hurley, Official Photographer, Shackleton Expedition.

Incidentally, the same stalwart f/3.5 telephoto was used to document Mt. Everest expeditions in 1922 and 1924 by official photographer Captain John Noel.

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Shackleton catalogue page: A photo of the ship Endurance, lodged fast in ice, from the 1921 Cooke lens product catalogue. The photo was enclosed with a letter from Sir Ernest Shackleton.

[H3] We’re not in Kansas any more
It’s hard to underestimate the startling impact audiences felt when Dorothy opens the door of her aunt’s house and peers outside to see the yellow brick road. The Wizard of Oz (1939) wasn’t the first movie shot in Technicolor but was the first to overlay colour film over black and white on its way to six Academy Award nominations, including for Harold Rosson’s cinematography, convincing Hollywood to switch to colour presentations. The masterpiece was shot with 3 strip Technicolor cameras which used beam splitters to separate the colours. That meant the lenses needed to have a longer back-focus distance than ever before, while also correcting any aberrations the prisms introduced. Horace Lee’s 1931 design at Cooke (British patent 355.452) for an inverse telephoto achieved this, contributing to the success of the Technicolor process throughout its heyday.

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The Wizard of Oz, 1939: Virtually all Technicolor pictures were made with specially modified Cooke Speed Panchros until the early 1950s.

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[H3] The Speed Panchro era
The advent of the ‘talkies’ created a great demand for faster lenses because noisy arc lamps could no longer be used, making much existing equipment obsolete. Cooke inventor Horace Lee adapted his f/2.0 optic design into a cine prime lens that combined a wide aperture with an angular field of view and definition previously impossible with much smaller apertures.
The Cooke Speed Panchro quickly became the lens of choice for Hollywood from the 1920s right through to the 1960s being used on many major motion pictures from the very first Academy Award winner Wings (1927) to Casablanca (Best Picture winner 1942) and The Sound of Music (Best Picture winner 1965).

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Casablanca, 1942: By 1935 the Cooke Speed Panchros for cinematography were supplied in 8 focal lengths working at f/2.0: 24, 28, 32, 35, 40, 50, 75 and 108mm.

[H3] I’m Spartacus!
The 1960 Academy Award for Best Cinematography, Colour, went to Russell Metty, ASC, for lensing historical epic Spartacus starring Kirk Douglas as the rebel gladiator. Metty used Cooke lenses with a Delrama anamorphic adapter to film in Technirama. The 35mm negative was converted via Panavision printer lenses to a 70mm print.
Director Stanley Kubrick went on to make The Shining (1980) and Eyes Wide Shut (1999) with Cooke lenses.

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Spartacus, 1960: First ever anamorphic production.

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[H3] The Varotal Zoom
Legendary lens designer Gordon H. Cook crafted the 35mm Cooke Varotal 20-100mm, T3.1 released in 1971. It was the first high quality zoom designed for professional motion picture photography and incorporated a totally new design concept that has remained the basis for all Cooke zoom lenses subsequently produced. The lens was also key to shooting T2: Judgement Day (1991) by Adam Greenberg ASC, and Elizabeth (1998) by Remi Adefarasin BSC who won the Bafta and was Oscar nominated for his work.

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Cooke Varotal: The world's first Cine Zoom.

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Elizabeth, 1998

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Terminator 2: Judgement Day, 1991

[H3] Apocalypse Now
After a gruelling 15-month shoot in the Philippines, Apocalypse Now was finally released on August 15, 1979. At the time, critics were sharply divided in their assessments of the film, but Francis Coppola’s visionary Vietnam War epic is now regarded as a modern classic. The film’s spectacular images shot using Cooke Anamorphic Zoom, modified by Technovision in Italy, earned Vittorio Storaro ASC, AIC, his first Oscar and cemented his reputation as one of the world’s most brilliant and innovative cinematographers. He won further Academy Awards for Reds (1981) and The Last Emperor (1987), also photographed with Cooke’s Technovision optics.
[H4] “At the beginning [of my career] I was expressing myself only through light and shadows,” the maestro says. “After Apocalypse Now I discovered what was inside: Colour. My clear concept was to achieve balance between these elements of light, shadow and colour. That was my search for equilibrium.”

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Apocalypse Now, 1979: The film’s spectacular images shot using Cooke Varotal.

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[H3] The Shining
With the eerie tracking shot which follows a young boy pedalling through corridor after corridor on his plastic tricycle we enter the disturbed mind of Danny Torrance – one of many standout sequences devised by director Stanley Kubrick for the Steadicam on The Shining (1980). Steadicam inventor and operator Garrett Brown used an 18mm Cooke lens that allowed the rig to pass within an inch of walls and door frames while maintaining the widescreen scope of the shot.
[H4] “When you’re working with Stanley there is always a different outlook; a different idea,” said the film’s director of photography John Alcott BSC. “Is there any way we can do it differently? Is there any way we can make it much better than it was before?”

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The Shining, 1980: Shot on both Cooke primes and Varotal Zoom.

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[H3] You’ll believe a man can fly
The tagline for Superman: The Movie (1978) was ‘You’ll believe a man can fly’ and in no small part down to the skill of Geoffrey Unsworth BSC and special effects pioneer Zoran Perisic we did believe. The development of the Zoptic Front-Projection System was the principal method used to make Superman fly. The original Superman used Cooke 5:1 zooms with Technovision anamorphics both on the projector and on the camera. Superman II (1980) used the f2.8 Super Cine Varotal 10:1 zoom (25-250mm) on the camera and on the projector configured for 8-perf Vista Vision. Superman III (1983) was shot with 35mm on both projector and camera using Super Cine Varotal 10:1 zooms.

The same year, the same lenses were also used by Alan Hume BSC to shoot Star Wars: Episode VI – Return of the Jedi. The future of superhero blockbuster movies was born.

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Superman: The Movie, 1978: Cooke Super Cine Varotal 25-250mm f2.8.

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[H3] The Draughtsman’s Contract
Peter Greenaway became a director of international status in 1983 with The Draughtsman’s Contract, a witty, stylised, erotic murder mystery, shot by Curtis Clarke ASC using the compact Varokinetal zoom.
[H4] “I had the idea to experiment with Super 16mm because it has an intrinsically bigger depth-of-field, and find a way to enhance the image quality of the 35mm blow-up reproduction,” Clarke says. “From the selection of the sharpest lenses with optimal exposure, to the way we handled the blow-up, it had to be done very carefully. The objective was that anyone who saw the finished film wouldn’t know it wasn’t 35mm origination. It worked perfectly.”
The 16mm film marked Clarke’s and the Varokinetal’s feature debut.

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Cooke Varokinetal Zoom: Used in The Draughtsman's Contract, 1983.

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[H3] Far From Heaven
So revered is the Speed Panchro among cinematographers – and so well-crafted the original glass – that Panchros have been rehoused for successive generations of filmmakers. Edward Lachman ASC recreated the saturated Technicolor lushness and chiaroscuro lighting of Douglas Sirk melodramas made on studio backlots for Far from Heaven (2002) using S4 and Speed Panchros. In contrast, for Carol (2015), another 1950s era romance also with director Todd Haynes, “I did everything to make the light and the feeling of the images naturalistic.” He photographed Carol on Super16 using reworked Varapanchros and S2 Speed Panchros primes to “reference how things from that time period would’ve looked through older glass.” Lachman was Oscar nominated on both occasions.

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Far from Heaven, 2002

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[H3] 12 Years A Slave
Early in his career Sean Bobbitt BSC began using Cooke S4s and always returns to them. “I’ve tested many lenses,” he says, “some can be too hard and too sharp but there’s something about the Cooke that I like. To me they are slightly warmer with softer contrast. They are more forgiving and that suits me. It’s the way I see the world.”
His collaborations with director Steve McQueen shot on film, photographed on S4, include Hunger (2008); Shame (2011) and 12 Years A Slave (2013) – in which shots of the natural landscape were an integral part of the drama.
[H4] “The beauty of Louisiana is a counterpoint to the horrors of what was being perpetuated there,” Bobbitt says.

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12 Years a Slave, 2013

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Hunger, 2008

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Shame, 2011

[H3] Innovating intelligence
At the turn of the millennium, the value of metadata was a given for archiving but largely overlooked at the acquisition stage. Recognising this deficit, Cooke set out to create a metadata protocol that would provide the industry with a means to share lens data effortlessly from acquisition to post-production. The result was /i (Intelligent) Technology, a system to enable film and digital cameras and equipment to automatically record and display key lens data for every frame shot.

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Integral to all Cooke lenses and adopted as an industry standard, the technology is coming into its own with mixed reality filming. Precise data of every lens characteristic can be fed into a virtual production workflow to speed production and iterate creative decision making such as on Star Trek: Strange New Worlds shot with Anamorphic/i Full Frame Plus Special Flair lenses.

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Cooke Anamorphic/i FF SF 32mm lens.

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[H3] The golden age of TV
For some people Breaking Bad is the best TV drama ever made. Its gorgeous, desert landscapes captured on 35mm film give the show a characteristic and disarming glow. Other fans might choose Game of Thrones, shot on low light sensitive digital cameras to accommodate scenes of candle l