今天收到一封来自Zeiss的信，吓了我一跳，啥事呀，我没投稿参赛啥的呀。打开一看，我去年12月18号问问zeiss CP.2能不能用螺纹滤镜，结果今年2月25号才回，告诉我不提供，电影头是要配光斗的。我估计我的信在圣诞假期里被存在收件箱的遥远深处了，管理员这两天一不小心又给翻出来了。我倒不是说回的晚了，Zeiss的电子邮件还真是挺认真对待的，甭管啥乱七八糟的业余问题，人家都给你个信儿。

[JLC 编辑于 2011-02-27 13:07]

http://www.zeiss.com/C125679B0029303C/EmbedTitelIntern/PI_0013-2011_01/$File/PI_0013-2011_01_dl.jpg
Zeiss人喜欢抱这个MP 75。CP50的镀膜还挺漂亮的。后边那位的腰带和我的腰带一样生活在水深火热之中，好可怜。。。。。

http://www.filmaker.cn/bbs/viewthread.php?tid=1074&extra=page%3D1
推广一下老大们的精华贴。

给大家推荐一个廉价变焦，要求不高拍纪念照不错，就不要讲究神马味道不味道的了，RED的核心是清晰度，这点和莱卡有点像。
/showthread.php?threadid=715935
V版淘了一个RED 18-50，第 2486 帖 和 第 2488 帖。

对比一下CP.2 50同样是T2.8。
/showthread.php?threadid=816767
第 76 帖

没觉出nikon 200/2有多牛呀，cooke对上焦，也挺王道的。

http://reduser.net/forum/showthread.php?t=24249
还有一张nikon 200/2的小张呢。

http://reduser.net/forum/showthread.php?t=14843
老cooke S2/3的效果。

http://reduser.net/forum/showthread.php?t=55382
shot on Cooke Panchros 应该是新的panchro/i吧。有不少图片可看。

http://reduser.net/forum/showthread.php?t=49685&page=6
  #53 楼
I was lucky enough to get a tour of the Cooke factory while on vacation in the UK this summer (though my 11-year old son did not feel lucky to be dragged along) The following are my impressions on the process (and you can read Jon Fauer's more detailed and excellent report in Film And Digital Times online)
Glass billets arrive from their supplier and are quality checked. Any defect means the dumpster for that billet. They have million-dollar CNC systems for grinding glass to a very specific and critical tolerance. Obviously that is a modern, automated approach to cutting a lens element. They also have machines from their original factory that were made c1914 for final polishing and finishing. That requires a technician to monitor and measure the progress of the polish, using another very expensive machine that plots the curve of the element. They have a room where three custom made multimillion dollar vacuum machines deposit lens coatings on finished elements. It's a slow and expensive process that deals with poisonous chemicals. Every element is then cut down and sized exactly to fit the lens assembly, and has its cut edges black coated to eliminate stray reflections. That is a totally hand crafted process. I'm sure a Cooke executive can describe these processes better and in detail, as well as add steps I've forgotten.
At every step of the process there is intense QC that results in something between of 40%-70% of elements (depending on the batch of glass billets) being thrown away. If an element has occlusions, they throw it away. If the cut is wrong (to within a micron in three dimensions!) and cannot be corrected, they throw it away. If the element does not transmit the required quantity of light, they throw it away. Each element that passes is assigned a serial number and entered in a database. When a lens is assembled, every component has a page in the database with comments from the QC person.
The assembly room is large and staffed with craftsmen carefully hand-assembling lenses. If mechanical parts are not to spec, they are thrown away. There is no assembly line. One person assembles a lens from start to finish, noting and correcting any issues along the way. For example, today, James will assemble an i5 100mm lens. Tomorrow, a Panchro 21mm. Lenses are assembled "dry-fit" first to make sure all is within spec. They are checked and custom engraved (in a fully human executed, precise process) as described in my previous post and reassembled with dry lube, fastener retainer, etc. as a final assembly, and QC'd again.
There are offices for the small executive staff and a CAD design room, where I'm told new designs for lenses are proposed and designed. Existing product lines are tweaked and improved. They will often make a prototype and decide the market is not there for that design and abandon it. Sometimes a new lens or line will be introduced (15-40 S4, Panchros, etc.)
Again, a process that combines modern computer controlled machine, and hand processes where each is advantageous.
And keep in mind they sell lenses in the low thousands every year, not hundreds of thousands or millions like still photo lenses.
I cannot speak firsthand about Angenieux or Zeiss, but I would not be surprised if their cinema lens divisions used many hand finishing techniques combined with modern production, similar to Cooke. Again, Jon Fauer has profiled both companies in his magazine. I have seen the lens room at Panavision and it's damned impressive, although, as I understand it, the elements arrive finished from Leitz.
Stuff costs money. People cost money. Low production runs combined with super high precision means that each unit will be expensive. Red changes that paradigm a bit with 7,000+ cameras (but not at all compared with the still photo or broadcast world) but there is still a limit to what things will cost and how they will perform for that cost. Why shouldn't Red come out with a really low-cost set of primes? Maybe $500 a lens? Cause it's virtually impossible at that price point, and not worth it for the profit potential.
I've already said that the RPPs are an astounding value for the money and anyone with $20,000 to spend on modern cinema lenses should run, not walk, to buy a set! For those folks who can afford more (whether via renting or owning) there IS a difference, whether it's the absolute razor-sharp perfection of Master Primes, or the "Cooke Look", or the amazing Optimo 24-290 that holds aperture and is distortion free throughout the zoom range.
That's about all I can say on the subject. I just do not believe that you can make a Ferarri at a Ford price point...

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电影头的成品率很低呀，怪不得顶级电影头都那么贵，应该组织山寨集团去收购它们仍下来的东西回来组装，1/10的价格出售

我说的是镜片的照片，前口后口都行，侧面照很多的，没用。

看看这个
http://www.zgc.com/webstore.nsf/allbydocidseo/TL99AMX61.html

cooke S4/i 135的光圈叶片，怪不得口诛笔伐呢，玩呢？

cooke 5/i 25mm

http://www.flickr.com/photos/definlayson/with/5256998568/
有零星小样片。

http://www.flickr.com/search/groups/?q=cooke&w=81261024%40N00&m=pool

[JLC 编辑于 2011-02-25 18:43]

我正犹豫是搞哪个呢，40，65，又没有资料，很矛盾。我主要是看S4i 40mm体积镜片很暴力，65其实挺适合我的视角。但又想着75是不是能适应性更强一点点呢，镜片能不能再大一点呢，以后要能覆盖30x24，我就拿它当4x5用，哈哈哈。

[JLC 编辑于 2011-02-25 18:21]

S35画幅 一个差不多标头 一个肖像 非常常用

我现在一直有个问题没搞清楚，大家看Zeiss和cooke的各个系列的报价单会发现，40mm和65mm这个相对比较个性的尺寸的价格要比附近焦段的镜头贵一些，而且所有的系列都是这样。
这是为什么妮~
难道就因为物以稀为贵？

在我为数不多的零星照片看过之后，我发现了Zeiss和cooke的一些区别。Zeiss更接近摄影头的感觉，她那种色彩，反差等等，总有着摄影头的印记，而cooke就和我们一般人常见的摄影头拍出来的东西有些区别，说不上来，不仅是偏黄的问题，感觉挺电影，有时候甚至感觉成像很差，不是zeiss那种快刀切白菜的脆脆的感觉，有一种闷，但有不浊，不是很清楚吧，但又觉得挺有细节，尤其是高档的cooke，味道要独特一些，不像Zeiss那样，用惯了ZF也能很快适应MP UP，很复杂的情感在里边。另外觉得cooke在暗部上和zeiss没有多少区别，但是在高光上，貌似要好一些，但是带有一种压制的感觉，并不是每个人都能喜欢。至少不是一下子就能从摄影头适应过来。

以上纯属个人YY，等我有了实践经验再来给大家总结。

我不没※※※※杀过去么，我还是在努力朝着cooke 5/i 75mm T1.4前进。只不过我一直没找到图片，不知道cooke 5/i 50 65 75 100买哪只成像最好，我准备全副普及之后寻找一下哈苏的感觉，把画幅裁成24x24的，寻找一下向往多年的感觉。当然了要是cooke 5/i能将就不出黑角地覆盖一下FF35更好。

转EF的很少，而且只有很少的头能转，比如安琴的那几个变焦，因为PL口后的直径要大于卡口直径，所以要求PL口后的金属段长度不能进卡口才能转接。zeiss和cooke的都不行。现在国内外都有PL转M43和NEX的接环，价格也相仿，多是在2000元以上一些。国内买kipon相对容易一些，但也不见得都有现货，多数应该需要订货。帖子里有国外人转EF的连接，实用性不大，能买安琴的钱，还不如去把佳能机身改口来的值，我个人感觉，只是感觉，一部分短尾新镜时可以不拆反光板的，只是换一个卡口而已。

全新Super 50/1.2
而且存貨不只一個
似乎還比CY55/1.2划算

但您還真是三心二意

一直在关注您的知识帖

按您指引看到：这个环儿还是转 M4/3 的，不是转 EF的。

对比了不多的图片，感觉cooke 5/i 口径比S4i大了一号，第一片镜片的直径并没有变大。

cooke panchro/i 100mm

非常艰难地找到一张cooke5/i的图片，应该不是32mm和100mm，也不太像25mm和18mm，个人怀疑是75mm，不能确认。

http://www.pure4c.de/dynasite.cfm?dsmid=100375
有一支很新的Zeiss Super Speed Lens Planar 50mm T1.3 PL-Mount MK3 feet scale卖5000欧。这要是在北京，杀过去现金交易。

http://www.red.com/products/lenses
RED居然给出了镜头变形。

翻译的cooke官网，其中www.itvc-cn.com是cooke官网中的销售商。

http://www.itvc-cn.com/cooke/cooke_download.html
http://www.votovo.tv/cooke.shtml

http://www.dvxuser.com/V6/showthread.php?223920-GH-1-2-and-RED-MX-shooting-on-Super-Power-feature-film-Check-out-the-Kickstarter!&highlight=cooke
据传是cooke拍的，引用的是
http://www.dvxuser.com/V6/showthread.php?223805-SUPERSEEDS-Superhero-Action-Comedy-(Rainfall-Films-Kholi-)