From American Cinematographer, Paging Machiavelli by Eric Rudolph (March 1998)
While the lighting in The Spanish Prisoner is unconventional, Beristain's choice of optics was not. He did not want his lenses to telegraph anything about the characters.
"We used 40mm through 75mm lenses for close-ups. We had thought about using 200mm and 300mm lenses for a lot of the close-ups, but we were afraid that might provide clues about the characters' true natures. If you use a very wide or very long lens on a character, the audience knows that something is up with that person. We wanted the audience to be as unsure as the hero was."
- Gabriel Beristain, ASC, BSC
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label long. Show all posts
Showing posts with label long. Show all posts
10.5.09
Matthew Leonetti: Telephoto Lenses
Discussing Panavision's anamorphic C-series lenses used on Star Trek Insurrection:
"For scenes set on Ba'ku, we used some really long lenses-- up to 600mm and 800mm--because they give everything a bit more sparkle and the images are prettier. Just to do a closeup in anamorphic, you have to use a 180mm to get in tighter, but most of the movie was shot with 50mm, 75mm, 180mm, and 400mm lenses."
"For scenes set on Ba'ku, we used some really long lenses-- up to 600mm and 800mm--because they give everything a bit more sparkle and the images are prettier. Just to do a closeup in anamorphic, you have to use a 180mm to get in tighter, but most of the movie was shot with 50mm, 75mm, 180mm, and 400mm lenses."
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