Cooke Anamorphic: cinematic character with /i LDS
The Cooke Anamorphics combine Cooke's warm and pleasant aesthetic with the hallmarks of anamorphic design: scope aspect ratio, oval bokeh and characteristic flares. When equipped with /i LDS, they deliver technical data that make VFX, post-production and modern workflows easier.
- Color consistency: Cooke colorimetry that facilitates matching across focal lengths and with other Cooke series, reducing grading time.
- Recognizable anamorphic look: oval bokeh and controlled flares that add depth and cinematic character to the frame.
- High optical quality: balanced sharpness and low geometric distortion, suitable for VFX, HDR and high-resolution deliveries.
- Simplified workflows with /i LDS: /i versions transmit metadata (focus, aperture, serial) that assist conforming, VFX and logging on complex shoots.
- Versatility on set: wide focal range (approx. 25–300mm) and PL mount, compatible with matte boxes, filters and standard anamorphic accessories.
Key technical specifications: Cooke Anamorphic
Technical summary (indicative) for the Cooke Anamorphic set (Super35, 2x).
| Parameter | Cooke Anamorphic | Notes |
| Anamorphic factor |
2x |
Classic squeeze to obtain scope ratio 2.39:1 on 4:3 sensors. |
| Focal range |
25mm – 300mm (depending on set) |
Coverage from wide angle to long tele on Super35 / 4:3. |
| T-Stop |
T2.3 (basic series) |
Exceptions: 65mm Macro T2.6, 180mm T2.8, 300mm T3.5. |
| Mount |
PL (Positive Lock) |
Industry standard; adapters available. |
| Coverage |
Optimized for Super 35 |
Designed for 4:3 sensors in anamorphic mode. |
| Bokeh |
Oval, soft and cinematic |
Characteristic of 2x anamorphic design. |
| Flares |
Controlled and reproducible |
Useful as a creative resource and recognizable in the anamorphic look. |
| /i LDS (metadata) |
Optional on /i versions |
Transmits aperture, focus and serial for VFX and logging. |
Figures are indicative; for a per-focal technical sheet and set availability in our rental please consult the technical team.
Cooke Anamorphic focal range: 25mm – 300mm (2x)
25mm
Wide angle
50mm
Standard
300mm
Long tele
An anamorphic set designed for productions seeking the scope look with consistent aesthetics across the focal range.
Why anamorphic lenses share common traits
Anamorphic lenses share a series of structural and optical characteristics derived from their design: the anamorphic element compresses the image along one axis (usually horizontal) and then it is expanded in post or on the sensor, producing the distinctive scope look. These common traits facilitate matching between different anamorphic brands and series:
- Oval bokeh: compression produces elongated defocus shapes that are a hallmark of the anamorphic look.
- Characteristic flares: anamorphic elements tend to stretch flares into horizontal lines, creating reproducible visual resources across anamorphic lenses.
- Controlled asymmetric distortion: distortion usually concentrates on one axis and is designed to be predictable, which helps VFX and compositing.
- Reduced focus breathing: many anamorphic designs prioritize minimizing zoom breathing for smooth camera moves and focus pulls.
- Need for 4:3 sensors / squeeze workflow: the anamorphic workflow (record squeezed → desqueeze in post) imposes common requirements on camera settings, matte boxes and masking.
In summary, although each manufacturer brings its own character (sharpness, color, flare aggressiveness), the physics of anamorphic design imparts shared traits that make anamorphics “look alike” in aesthetic and technical aspects.
Cooke Anamorphic set (typical focal lengths)
Indicative table with focal lengths and T-stops for the basic set and common additional lenses.
Indicative focal lengths and T-stops for Cooke Anamorphic 2x.
| Focal | T-Stop | Typical use |
| 25mm |
T2.3 |
Wide shots and expansive locations. |
| 35mm / 40mm |
T2.3 |
Dialogue and open framing with anamorphic character. |
| 50mm |
T2.3 |
Medium shots and standard close-ups. |
| 65mm (Macro) |
T2.6 |
Details and close-ups with macro capability. |
| 100mm / 135mm |
T2.3 – T2.8 |
Portraits and moderate background compression. |
| 180mm / 300mm |
T2.8 – T3.5 |
Long teles, plane compression and distant detail. |
Comparison: Cooke Anamorphic vs other 2x anamorphics
Below is an indicative table summarizing character and use differences between Cooke Anamorphics and other common 2x anamorphic families in rental (Arri Master Anamorphic, Hawk V‑Lite / Hawk 2x and vintage/alternative anamorphics). These traits help choose the right optics depending on aesthetic, workflow and VFX needs.
Indicative comparison between 2x anamorphic families.
| Characteristic | Cooke Anamorphic | Arri Master Anamorphic | Hawk V‑Lite / Hawk 2x | Vintage / alternative anamorphics |
| Aesthetic / Look |
Cooke Look: pleasant skin tones, warmth and cinematic character. |
Very clean, clinical and neutral; designed for maximum precision. |
Modern, with marked character and pronounced flares. |
Highly variable: from organic/vintage to strong flares and notable aberrations. |
| Contrast and sharpness |
Mid‑high: balance between sharpness and skin softness. |
Very high and uniform across the frame. |
High, with a modern character; good performance at high resolution. |
Usually lower than Master; provides character rather than pure resolution. |
| Flares |
Controlled and warm-toned; creatively useful without being aggressive. |
Controlled and reproducible; less “vintage” character. |
More visible and stylized; a frequent aesthetic resource in commercials and music videos. |
Varies: some offer intense and colorful flares that define the look. |
| Distortion and geometric correction |
Well controlled; designed to match other Cooke and spherical sets. |
Very low; ideal for VFX and architecture. |
Good correction, though with its own character in the periphery. |
Often more pronounced and variable; may require correction in post. |
| Bokeh |
Oval, soft and cinematic, with Cooke character. |
Oval, very clean and homogeneous. |
Oval but with more personality and pronounced background compression. |
Can be very “organic” or irregular depending on the lens; attractive for vintage looks. |
| Focus breathing |
Normally reduced in modern Cooke anamorphic designs. |
Practically non-existent; optimized design for focus moves. |
Reduced, suitable for pans and dynamic focus pulls. |
Variable; some vintage lenses show more breathing. |
| Metadata /i (LDS) |
Available on /i versions: facilitates VFX, logging and conform. |
Generally compatible with ARRI workflows and /i where applicable. |
Some versions offer metadata; depends on manufacturer/series. |
Rare in vintage lenses; normally do not include metadata transmission. |
| Ideal use |
Fiction, premium commercials and projects seeking the “Cooke Look” in scope. |
Feature films, heavy VFX, HDR and high‑end projects. |
Commercials, music videos and projects where flare/visual state is protagonista. |
Productions seeking vintage aesthetic, character or lower budget options. |
| Price / rental availability |
Generally high due to demand and prestige; availability variable. |
Top‑tier — high rates; limited availability and technical management required. |
Mid‑high range; increasingly common in rental houses. |
Usually more affordable, but may require calibration and pre-tests. |
Note: this comparison is indicative. Each specific lens and set may vary depending on generation, condition and calibration of the rental lenses available. For shoot decisions (matching, camera tests, VFX) we recommend requesting camera tests or consulting our technical team.
Why choose Cooke Anamorphic?
- Cooke Look applied to anamorphic: pleasant skin tones and consistent colorimetry with cinematic character.
- Optical quality: balanced sharpness and contrast, ready for HDR deliveries and VFX.
- /i LDS available: allows recording lens metadata to facilitate workflows and synchronization with VFX systems.
- On-set compatibility: PL mount, matte boxes and standard anamorphic accessories.
- Classic anamorphic look: bokeh and flares useful as a creative and recognizable resource in film and commercials.
If you need to compare with other 2x anamorphics (Arri Master, Hawk, alternative Cooke anamorphics), we can advise you to choose the combination that best fits your camera, script and budget.
Cooke Anamorphic rental in Madrid, Barcelona, Seville, Málaga, Valencia and Bilbao
We manage the rental of Cooke Anamorphic lenses with logistics and support for shoots across the UK and Spain. If you need a high-end anamorphic pack together with cameras, filters and grip, we can combine these optics with our camera rental and other cine lenses to configure a complete kit tailored to your production.
Coverage
In addition to the anamorphic set, you can complement it with specific accessories (anamorphic matte boxes, PL adapters, filters and follow focus) available in our equipment catalogue.
Frequently Asked Questions: Cooke Anamorphics
Do I need a camera in 4:3 mode to use them?
Yes. To take full advantage of the 2x factor and obtain the final scope ratio (2.39:1) we recommend using cameras that allow 4:3 mode or anamorphic recording (for example ARRI Alexa in 4:3).
What is the difference between Cooke Anamorphic /i and non-/i?
The /i version incorporates LDS to transmit lens metadata to the camera (aperture, focus, serial). Non-/i versions share the optical look but do not send metadata.
How does T-Stop affect anamorphic performance?
A lower T-Stop (brighter) allows shooting in low light and controlling depth of field; however, long anamorphic focal lengths often have slightly higher T-stops due to optical limitations (e.g. 180mm, 300mm).
Are they compatible with normal matte boxes?
Yes, but on anamorphic shoots you typically use matte boxes and filters prepared to avoid vignetting and to host anamorphic adapters when required.
How do I request a quote?
Write to us at hello@camaleonrental.com indicating dates, location, camera and desired focal lengths, or call +34 913 40 78 97.
Summary: Cooke Anamorphic rental
The Cooke Anamorphics offer the iconic Cooke Look applied to the anamorphic world: color, skin tones and contrast with the scope aesthetic provided by oval bokeh and characteristic flares. With /i LDS they facilitate modern workflows, and their optical quality makes them suitable for feature films, series and premium commercials.
We offer shipping and technical support for shoots in Madrid, Barcelona, Seville, Málaga, Valencia and across Spain. We can combine the lenses with cameras, anamorphic matte boxes, filters and accessories needed for a full set.