Pre-IBC Special • September 2009 Cooke
First Look: Cooke Panchros
Like the Phoenix rising in Harry Potter, the venerable Cooke
In September 9, 1926, Kinematograph Weekly reported: "Over
Panchro name is being revived, or should we say, reinvented.
a hundred Taylor-Hobson Cooke lenses of various focal lengths
Film and Digital Times has learned that Cooke is working on a
are used by the photographic department of the Famous Players-
new set of PL mounted lenses for 35mm motion picture film and
Lasky studios. This interesting information is contained in a letter
digital production. The six new Cooke Panchro/i series—18, 25,
from Frank E. Carbutt, Famous' Director of Photography. Mr.
32, 50, 75, 100 mm, all T2.8—should be ready by the end of the
Carbutt adds that these lenses have, without, exception, given
year, available individually or as a set. Panchros are designed,
perfect satisfaction and that they have yet to find a poor Cooke
manufactured and assembled in Leicester, England by the same
team that created the S4 lenses, at an affordable price. They are
clearly aimed at the large and vibrant community of up and
July 1930, from an article in The British Journal of Photography:
"It deserves to be better realized in the photographic world to
what extent Taylor-Hobson lenses have come into favour in the
But these are not training wheels for your top of the line Cookes.
sound-film and silent-film studios in England and in Hollywood.
When you get your ASC or BSC award, you are not obliged to
The Cooke lenses of very large aperture have been establishing
trade these Panchros in for S4 lenses, much as Cooke owner Les
themselves increasingly in film production for several years past,
Zellan would be delighted you do. The Panchros sacrifice nothing and are now in use to an extent which is very gratifying to those
except a stop of light (T2.8 on Panchros vs T2.0 for Cooke S4).
knowing the merits of British products. In the same way Taylor-
The resolution is expected to be as good as an S4 at T2.8. They
Hobson projection lenses have secured something like a monop-
are about 20% lighter and smaller. The new Panchro line is being
oly among the ‘super cinemas' in this country for projecting
designed with 4K (and beyond) digital and film production in
these same films. Frequenters of the movies may reckon therefore
mind. The aperture is linear. Focus mechanisms are still cams.
that most of the pictures which they see are both produced and
Focus scales are generous. And Cooke /i Technology is included.
projected by means of lenses made in the Leicester factories."
Preliminary technical specs are printed on the next page. The
By 1935, Cooke Speed Panchros for cinematography were
Panchros are still a work in progress, so details, specs, shapes
supplied in 8 focal lengths: 24, 28, 32, 35, 40, 50, 75 and 108 mm.
and other things may change. One thing is not going to change:
They all covered the standard or "normal" 35mm 1.33:1 format
the inexorable demand for more PL mounted lenses to put on all
of 0.631 x 0.868 inch.
the new film and digital cameras, including the Sony F35, ARRI
D21, RED, Aaton Penelope and the hundred-thousand existing
"Those who fail to learn the lessons of history are forced to see it
PL mount cameras. Panchros have a prestigious provenance. The
repeated," said a famous statesman. It seems that Cooke has not
majority of feature films made in Hollywood during the first half
failed in their history lessons and are repeating the success of one
of the 20th century were shot using Cooke lenses, and many of
of the most popular lens sets of all time.
these were Panchros. In 1921, Horace W. Lee designed the Cooke
Speed Panchro, a prime lens with a wide aperture for filming in
Cooke at NAB 2009
Panchro in 1921; it was a cine prime lens that chromatically
enhanced an image when filming under low light. The advent
of sound films created a great demand for faster lenses since
arc lamps were difficult to use because of the noise they made,
making most existing lenses obsolete. The Speed Panchros were
born out of the industry's need for faster lenses to cope with
lower light levels brought about by the new sound requirements
on the set. Cooke Speed Panchros combined a relative aperture
of f/2 with an angular field of view and definition previously
impossible with much smaller apertures. The Cooke Panchro was
also instrumental in the introduction and success of Technicolor
in the 1930s because the Panchro's unusually high correction for
chromatic aberrations made it suitable for color photography.
The six Panchro By Cooke prime lenses - 18, 25, 32, 50, 72 and
100mm – will be available to purchase individually or as a set.
The lenses are expected to be available at the end of 2009.
Cooke also announced that the popular Sony F35 CineAlta
camera will incorporate support for Cooke's /i Technology. The /i
Technology protocol enables the recording of extremely accurate,
frame-by-frame lens and camera data seamlessly on the set. This
can save visual effects artists hours of time in post-production
by eliminating the need to guess lens parameters and camera
information. This information enables artists to produce more
realistic-looking effects, more quickly. In August, Geoff Boyle
(below) conducted a London /i test near the London Eye for
Cooke and Pixel Farm on an /i equipped Sony F35. Details of the
NAB 2009. Les Zellan, chairman of Cooke Optics (above, at NAB
compositing test will follow.
Press Conference), announced the rebirth of an iconic lens, the
Cooke Panchro lens. The PL mounted lens for 35mm film and
Cooke's /i Technology is supported by many leading camera and
digital production is a modern redesign of the original Cooke
content creation companies including RED, Aaton, ARRI, Avid
Panchro lenses that were widely used in Hollywood. The legend-
ary lens is expected to be available at the end of 2009.
Cooke S4/i lenses were recently used on award-winning films and
The Panchro by Cooke lens is designed by the same team that
television shows including Milk, Frost/Nixon, 30 Rock and on
produces the Cooke S4/i lens; it is calibrated and color-matched
cameras throughout the NAB show. As well as demonstrations
to existing Cooke lenses and incorporates Cooke's /i technology,
at the P+S Technik booth, the S4/i lenses were also in the Canon,
so it is interchangeable with the Cooke range.
JVC, Sony and Band Pro booths.
The new Panchro sacrifices one stop of light (T2.8 compared
with T2.0 for Cooke S4), thereby offering a smaller, lightweight
and affordable choice when a faster lens is not crucial or when
shooting in difficult situations such as crash scenes or VFX
shots. The price point also brings the benefits of Cooke lenses to
independent filmmakers, film students and documentary makers,
while the reduced size, weight and true focal length markings
make Panchros ideal for 3D stereoscopic productions.
Les Zellan, chairman of Cooke Optics, said, "We are so excited
to bring Panchro By Cooke back to the film industry. With the
credibility of film history and over 100 years of development
behind it, the Panchro by Cooke lens is a serious yet affordable
piece of equipment for professional film makers."
The Panchro lens has played a major role in the history of
Hollywood. Horace W. Lee designed the original Cooke Speed
Cooke Panchro/i to be shown at IBC 2009
Stop the presses. Cut cameras.
Although there were CAD drawings
of the Cooke Panchros at NAB, we
weren't really sure what to expect.
Today, August 24th, we are not only
staring at a real production model
of the Panchro /i 100 mm T2.8 , but
also are about to shoot a test with it.
Several things come as surprises: all
good. This looks, feels and acts like
the Cooke S4 series: the same silky,
floating feeling as you pull focus.no
binding or resistance.effortless focus
riding on its cams.
AT NAB, there was chatter and twit-
ter that this would be a Cooke Lite,
less filling and maybe less impres-
sive. Not so. If anything, it fills a void
hitherto unaddressed. As Geoff Boyle
so eloquently put it on the phone
yesterday, the fact that the Panchros
are color matched and perform like
their brethren means you can confi-
dently order them by the dozens and
dozens for your multi-camera shoots.
For example, a normal camera and
lens package for the bulk of your
single-camera show might include
a couple of zooms and a set of S4/i
lenses. But, now it's time for the big
stunt end scene, you know, where
they jump off the largest cliff the
world has ever seen, or something
equally impressive and equally
demanding of at least ten cameras
Now, you know the producers is
going to pull out the Pepcid pills
for acid indigestion if you suggest
renting ten complete sets of S4
primes for every crash camera
covering the shot. And you're
certainly not going to volunteer your
own personal set. The answer is a
plethora of Panchros, lighter, smaller,
less expensive than the S4 set, one
stop slower, and very impressive. The
rest of the set is coming soon.
New Cooke PANCHRO/i Lens Set
T2.8 - T22 T2.8 - T22
T2.8 - T22 T2.8 - T22 T2.8 - T22
Angular Rotation of Iris Scale
Minimum Marked Object Distance
Close Focus from Lens Front
Angular Rotation to MOD Endstop
Maximum Diagonal Angle of View for Super 35 Format
Length from Front of Lens to Lens Mount
Maximum Front Diameter
• Maximum Format Coverage:
30mm Diameter (Super 35mm Format)
• Focus Scales:
Two opposing focus scales - metric or footage. Scales marked from infinity to MOD.
• Focus Drive Gear:
121 teeth 0.8 metric module x 5.0 wide x 104 from the image plane.
• Iris Scales:
Two opposing linear T scales - whole stops marked.
• Iris Drive Gear:
119 teeth 0.8 metric module x 2.5 wide x 84 from image plane.
Methylphenidate and Dextroamphetamine Abuse Methylphenidate and Dextroamphetamine Abuse in Substance-Abusing Robert J. Williams, PhD1; Leslie A. Goodale, RN2; Michele A. Shay-Fiddler, MSW2; Susan P. Gloster, BN3; Samuel Y. Chang, MD2 1. Addiction Counselling Program; School of Health Sciences; University of Lethbridge 2. Addiction Centre; Foothills Medical Centre; Calgary, Alberta 3. Lethbridge Regional Hospital; Lethbridge, Alberta
Appendix: A Proposed Approach to Nosology © Ronald B. David, MD While the practice of medicine has experienced major technological advances in recent years, nosologic systems (e.g., International Classification of Diseases – 10 and the Diagnostic and Statistical Manual – IV of the American Psychiatric Association) present at times a confusing array of diagnostic possibilities. Many diseases/disorders may even be represented in more than one place in the diagnostic system. Lack of a comprehensive framework leads to diagnostic confusion in the clinical, teaching, and often in the research setting. Clearly, organization and orderliness are needed to better discriminate between entities. Webster's International Dictionary defines nosology as the branch of medical science that deals with the orderly classification of diseases. My purpose is to propose such a system. This system will submit a priori that if a disease/disorder exists, there must also exist features which discriminate it from similar entities. It is clinically derived by expert opinion, categorical and multi-dimensional. Where the state of the art permits, discriminators have been empirically validated.