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2024 has been a showcase of stunning global productions shot on Cooke lenses. From dystopian dramas to heartfelt comedies, Cooke lenses have played a pivotal role in shaping the cinematic vision of many incredible films and TV series. As the year draws to a close, let’s look back at some of our favourite productions of 2024 that were shot on Cooke lenses.
April saw the release of feature film ‘Arcadian’ starring Nicholas Cage with direction from Benjamin Brewer and cinematography by Frank Mobilio. The film is set in the near future on a decimated Earth and follows a father and his twin sons as they fight to survive in a remote farmhouse. The movie merges genre elements of horror-science fiction with family drama; there’s tranquillity during the day but the night brings ferocious creatures which the family must outwit in order to outlive. Frank Mobilio selected the Cooke Panchro/i Classic FF lenses for the film and it was great to hear his thoughts.
“Cooke lenses always have a classic beauty to them that is natural and not too clinical. I have used Speed Panchros when looking for something a little more expressive, with their more painterly, swirly bokeh. In recent years I’d gravitated toward the S7/i for commercials on full-frame cameras where I was looking for a lens that would render faces and locations truthfully, but without feeling too sterile. Across the board, Cooke lenses have a nice gentle focus roll off that I really appreciate.”
The prestigious Cannes Film Festival took place in May this year which saw a lineup of amazing films recognised for their outstanding cinematography, acting and direction. Payal Kapadia’s ‘All We Imagine as Light’ took home the coveted Grand Prix award at the festival, shot on Cooke S4/i lenses. Cinematographer Ranabir Das sung the praises of the S4s.
“The image they produced were simply beautiful. The S4/i’s are very pleasantly sharp. There are many lenses that were made for film and look a bit harsh when coupled with a modern camera but that is not the case with Cooke. The image remains pleasant to the eye. They are light weight and easy to use for a handheld production. The focus roll off is very smooth and ‘filmic’ and a sense of depth is created by the lens giving the image more life. There is no unnatural distortion. The contrast it produces was just right for the project. The colour it produces is a neutral warm. Even though we were going for a cooler image through a lot of the film, this characteristic really helped to maintain a healthy skin tone and it captured enough depth in the colours to control them in post-production.”
Another winner at the 77th Festival De Cannes was Guan Hu’s ‘Black Dog’, which took home the Un Certain Regard Prize. The film follows Lang, an ex-convict who returns to his hometown in Northwest China with the task of clearing stray dogs before the 2008 Olympics. Lang finds himself bonding with a black stray and the two souls embark on a new journey together. Director of Photography Gao Weizhe worked alongside director Guan Hu, choosing to select Cooke 2x Anamorphic/i S35, shooting the entire film on a single focal length. Weizhe commented: “every time I use Cooke lenses, I associate them with words like humble, understated, soft, unique, and distinctive, which constantly remind me of my origins.” Having been shot in the Gobi wilderness, the film boasts stunning visuals.
Summer saw the release of the highly anticipated third season of Indian TV Series ‘Mirzapur’. Surrounding themes of power, greed and ambition, the gritty series follows Guddu Pandit and his rise to dominance in the chaotic world of Mirzapur. We spoke with Sanjay Kapoor, the creative eye behind the series and his choice of Cooke S7/i FF lenses.
“Transitioning to the Cooke S7/i lenses for season 3 felt like moving to a bigger version of the S4/i. The S7/i lenses maintain similar characteristics but are designed for full-frame coverage, which offers a wider field of view and shallower depth of field, enhancing the cinematic quality. The S7/i’s also retain the signature Cooke look with warmth and gentle contrast, but with the added benefits of modern optics and larger image circles.”
In May, our screens were graced with the wonderful work by creator and director Nida Manzoor and cinematographer Diana Olifirova for the TV Series ‘We are Lady Parts’. This is a heartfelt and powerful comedy about a British punk rock band formed entirely of Muslim women. The series was shot on Cooke Anamorphic/i S35 lenses, Olifirova commenting “Cooke is a very gentle, very beautiful, very romantic lens”.
Netflix’s ‘KAOS’ caused a stir when it hit the screens in August; an apt title with a feel reminiscent of Baz-Lurmann. Starring Jeff Goldblum as Zeuss, the dark-comedy reimagines Greek mythology with a modern twist, exploring the dysfunctional relationships and human-like flaws of the gods. Cinematographer Kit Fraser set up the show and shot episodes 1-3, 5 & 8 with director Georgi Banks-Davies. He mixed spherical and anamorphic lenses from Cooke Optics, namely the S7/i FF and Anamorphic/i FF Special Flair range to capture this stunning series. Fraser, having used “every single Cooke lens made” on previous work, found these lenses to have the “classic anamorphic flares that are softer and have the characteristics of older lenses without being too intrusive on the picture” along with being “kinder on the skin for different actors, rendering images more softly while also maintaining sharpness.”
One of the most recognised TV Series on Netflix undoubtedly is ‘Emily in Paris’, which returned in Autumn for Season four. Praised for being “visually delectable”, Season four was shot on Cooke S8/i lenses by Cinematographer Seasmus Tierney. The DOP, an owner of a pair of Varotal/i lenses, has long been a Cooke fan.
“I’ve always loved how Cooke lenses render images—the subtle roundness, the way they handle colour. They’re also incredibly well-designed for ease of use on set…The Cooke’s played a huge role in helping me achieve the more natural look I was after this season. I wanted to explore more shadow and light compared to previous seasons, trying to capture the unique quality of light in Paris—how it bounces off the buildings, reflects on the water, or streams through the old glass windows. The Cooke’s allowed me to get as close as possible to visually expressing the beauty I saw in Paris.”
Trapped on a farm in rural Georgia, a group of neighbours must put aside their differences and unite in the face of a mysterious and deadly threat.
This is ‘Teacup’, an American horror television series created by Ian McCulloch and taking inspiration from the novel ‘Stinger’ by Robert R McCammon. The first season premiered at Fantastic Fest in September 2024. Streaming began on Peacock from 10th October.
Cinematographer Isaac Bauman originated the show and lensed episodes one and two, shooting with Cooke Optics S8/i FF Prime lenses.
“That’s what the S8s represent to me. They represent all of the best things about vintage lenses and all of the best things about modern lenses. It’s the closest out of all lenses that exist to bring everything into one package.”
One of the biggest cinematic releases of the year was ‘Pushpa 2: The Rule’ released on 11000 screens in December. Kuba Brożek, a visionary Polish cinematographer celebrated for his work in Polish and Telugu-language films, Pushpa is more than just a project—it’s a passion that has consumed five years of his creative journey. After earning acclaim and a Filmfare Award for Best Cinematography for Pushpa: The Rise, Brożek returns to helm the visuals for Pushpa: The Rule. Brożek finally got the chance to use Cooke and selected both Anamorphic/i and S7/i FF lenses for the film, leveraging their distinctive qualities to create depth and dimension. His use of anamorphic wasn’t for flares but to maximize sensor utilization and achieve striking geometric compositions. Cooke lenses’ ability to preserve highlight details became a standout feature, with Brożek favouring focal lengths of 32mm and 50mm, shooting at T4 to T5.6 for anamorphic and T2.8 for spherical formats.
Another huge December release is ‘Carry-On’, which has hit number one on Netflix becoming the streamers biggest debut of 2024. This action thriller starring Taron Egerton as TSA agent Ethan Kopek who is forced to let a dangerous package through LAX security on Christmas Eve after his pregnant girlfriend is threatened. Carry-On is directed by Jaume Collet-Serra, with cinematography by Lyle Vincent using Cooke S4/i lenses.
From the deserts of the Gobi to the vibrant streets of Paris, Cooke lenses have shaped some of the year’s most iconic visual stories. Here’s to the artistry that Cooke continues to inspire – we look forward to next year!
