“I really felt that the film needed the detail and structure that anamorphic lenses provide,” says Brari, “but I wanted to contrast it in an impressionistic way.” With 40mm Voigtländer, 58mm Helios 44-2, and 50mm and 90mm Leica R lenses he found “the deep warmth and organic feeling” he was looking for. Cinematographer Kevin Brari’s lens set-up for Lost in Time Young German cinematographer Kevin Brari paired a Kowa 8Z anamorphic with a number of carefully selected taking lenses for the post-apocalyptic Lost in Time, shot on the Blackmagic Ursa Mini 4.6K. Over half a century later, filmmakers are still exploring the benefits of combining stills glass with anamorphic adapters. Light leak was a problem, so the gap between the two lenses had to be covered.” Often David would preset the stop and control exposure with NDs or by the shutter. Sometimes one had to remove the lens to set the stop. “The big problem was setting the stop, which was deep in the lens mount. “An anamorphic lens was backed up to the Ross lens,” Browne recalls. And accidents (of the right sort) are always the best things in photography.” ![]() “ were constantly alive, giving rise sometimes to the most wonderful accidents. “Light refraction would occur within the elements of the lens itself,” he says. Watkin, who passed away in 2008, paired an anamorphic lens with uncoated Ross Ensign glass from the 1930s. Robin Browne BSC at the camera as a clapper/loader on The Victors (1963) “Probably the most original idea for alternative lenses was on The Charge of the Light Brigade, photographed by David Watkin ,” says Robin Browne BSC, who served as focus puller on the 1968 production. Since digital cinematography became the norm, many DPs have chosen to offset the crisp electronic images with “characterful” glass, but of course, the idea of selecting unusual lenses for their aesthetics is far from new. Five DPs discuss the reasons, both creative and technical, behind their glass choices. (Photo: Steffen Schmitz) LENSES WITH CHARACTER Unusual bokeh, interesting flares, aberrations at the edges of frame – these are some of the artefacts which lens manufacturers once strove to suppress, but which are now prized by filmmakers seeking a unique look. Lead image: Kevin Brari and 1st AC Lukas Fahnert shooting Lost in Time.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |