Traveling 'Blood Road' with Cooke Lenses

Selecting Cooke Anamorphic/i lenses was a choice director Nicholas Schrunk and I made early that really paid off in helping to bring 'Blood Road' to audiences.
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<p>On films, the small choices you make at the beginning of the process are amplified throughout production. Selecting <a href="https://www.cookeoptics.com/l/anamorphiclens.html">Cooke Anamorphic/i lenses</a> was a choice director Nicholas Schrunk and I made early that really paid off in helping to bring <em><a href="http://bloodroadfilm.com/">Blood Road</a></em> to audiences.</p>
<p>In <em>Blood Road</em>, ultra-endurance mountain biker <a href="https://www.redbull.com/us-en/blood-road-film-rebecca-rusch-announcement... Rusch</a> pedals 1,200 miles of the Ho Chi Minh trail to explore the mysteries surrounding her father's death in the Vietnam War four decades ago. That story had us shooting primarily in Laos, plus Vietnam and Cambodia, so equipment durability was a crucial consideration.</p>
<p>Nicholas and I have worked with Cooke lenses before, but <em>Blood Road</em> was our first anamorphic project. We tested Cookes as well as other vintage and modern lenses, but the Cookes just stood out.</p>

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<td style="padding-top:10px; padding-bottom:0px; padding-right:0px; padding-left:10px;"><img src="http://www.creativeplanetnetwork.com/sites/default/files/public/2017/06/... align="right" width="450" height="345"></td>
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<p><span style="font-size: 10pt; font-family:Arial, Helvetica, sans-serif; line-height:150%; ">A still from <em>Blood Road</em></span></p>
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<p>The Cooke Anamorphic/i range is quite large. We used 32, 40, 50, 75, 100 and 180mm lenses, and the 65mm macro. No other lens manufacturer has 180mm and 65mm macro lenses within a single family, which was a benefit that meant we wouldn't have to mix different types of anamorphic lenses on the project.</p>
<p>The key moment in the film is an emotional reveal at the end, which we had just one chance to capture. The warmth and emotion that comes through the Cooke lens is subtle, not clinical. The interpretation of light going through the lens removed the filmmaking element, directly connecting the audience to the scene. They see the warmth the same way we did through our own eyes.</p>
<p><iframe width="560" height="315" src="https://www.youtube.com/embed/XCzVqiN950M?ecver=1" frameborder="0" allowfullscreen></iframe><br />
<em>Blood Road</em> trailer</p>

<p><strong>Read more about <em>Blood Road</em>:
</strong><a href="http://www.creativeplanetnetwork.com/news/shoot/taking-grueling-trip-dow... a Grueling Trip Down 'Blood Road,'</a><em> Digital Video</em>, June 28, 2017</p>

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<p>Twitter links</p>
<p><strong>Cooke Optics</strong> on Twitter: <a href="https://twitter.com/Cooke_Optics" class="twitter-follow-button" data-show-count="false">Follow @Cooke_Optics</a><script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script></p>
<p><strong>Rebecca Rusch</strong> on Twitter: <a href="https://twitter.com/rebeccarusch" class="twitter-follow-button" data-show-count="false">Follow @rebeccarusch</a>
<script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script></p>
<p>Director <strong>Nicholas Schrunk</strong> on Twitter: <a href="https://twitter.com/schrunk" class="twitter-follow-button" data-show-count="false">Follow @schrunk</a><script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script></p>

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