Cooke S7i Full Frame Plus – 18 – 25 – 32 – 50  – 75 – 135 T2.0
Cooke S7/i Full Frame Plus Primes
Shoot 35mm, Super 35mm, Full Frame and Beyond
The Cooke S7/i, T2.0 Full Frame Plus Primes are designed to cover the emergent full frame cinema camera sensors up to at least the full sensor area of the RED Monster 8K (46.31mm image circle).Shoot 35mm / Super 35mm formats, full frame, VistaVision and beyond – all with The Cooke Look®. We have you covered with our S7/i Full Frame Plus lenses.Superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture. The cam-type focus mechanism allows for smooth focus adjustments. Modular construction increases ease of maintenance and serviceability.And, the S7/i lenses come equipped with /i Technology for frame by frame digital information capture, as do all modern Cooke cine lenses for film and digital capture.Available in focal lengths: 16,18, 21, 25, 27, 32, 40, 50, 65, 75, 100 and 135mm.

Feature Highlights

  • Focal lengths: 16,18, 21, 25, 27, 32, 40, 50, 65, 75, 100 and 135mm
  • T2.0 – T22 aperture
  • Covers at least 46.31mm image circle
  • Colour matched to Anamorphic/i, S4/i, miniS4/i, 5/i and Pancro/i Classic lenses
  • Award-winning cam style mechanism for smooth focus adjustments
  • Especially well balanced for astigmatism and correct for lateral and longitudinal aberrations over the entire image area
  • Supplied with the next generation of /i Technology for lens metadata capture
  • Linear iris
  • The Cooke Look®, of course


Our Cooke S7/i Prime lenses are supplied with /i Technology that collect detailed lens data for production, VFX and post-production teams and are designed for all PL mounted professional motion picture film and electronic cameras. The /i Technology provides cinematographers and camera operators with vital information on lens setting, focusing distance, aperture and depth-of-field, hyperfocal distance, serial number, owner data, lens type and focal length in both metric and footage measurements, as well as inertial tracking data, shading and distortion data. For zoom lenses, the zoom position is displayed.

  • You can have a continuous remote readout of the precise focus setting, T stop and depth-of-field from electronics inside the /i equipped lens so you will be able to see the actor in front of you and the focus setting on the lens beside you without turning your head or even having to move your eyes too much. ACs love it.
  • You can digitally record vital lens settings accurately, frame-by-frame, all synced to Timecode, instead of having to manually write down lens settings for every shot, eliminating human error. One task your script supervisor needn’t worry about.
  • Normal operations on set are not affected. Metadata recording takes place without having to monitor or manipulate anything. Data records to digital or film recording medium or to an SD card. No specialists required on set and the DP needn’t worry about fussing with complicated accessories.
  • You will streamline the production and post production processes to save time and cost while ensuring a better quality product because the digital data you can now provide takes the guess work out of the process. Artists create visual effects and 3D models that are more accurate, with much greater speed. Everybody wins — ACs, DPs, Directors, Producers, VFX Artists – EVERYBODY wins.