From American Cinematographer, Glitter Gulch by Chris Pizzello (November 1998)
Particulary inspiring to Haynes was the jarring use of zoom lenses in Performance and other films of the period, a technique now generally considered to be dated and passé.
"Today, you have the constant movement in and penetration of the camera into physical space, with swooping tracks and pyrotechnics of all kinds. The camera of the late Sixties and early Seventies seemed to really hold back — it didn't physically enter space, it would instead zoom, pan, or swish through space. It would rack-focus suddenly, identifying one part of the frame to the other. The difference is that you really got a sense of surface, this beautiful, almost caressing of the surface of the screen. In Performance or early Robert Altman films, like McCabe and Mrs. Miller, the camera searches for and finds the subject in a fog of blurry haze and grain, then finds focus on one thing and follows it somewhere else. It's a more voyeuristic way of seeing, because you're not physically entering the space — you're staying outside and using the technology to scan the surface and isolate certain parts of the screen."
- Todd Haynes, Director of Velvet Goldmine
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 zooms. Show all posts
Showing posts with label zooms. Show all posts
28.5.09
25.5.09
Toyomichi Kurita: Zooms
From American Cinematographer, A Luminous Afterglow by Ron Magid (March 1998)
Of course, that task becomes even tougher when the lens of choice is invariably a zoom, but Kurita has actually learned to stop worrying and love the zoom:
"When I started assisting on films, most of the cameraman said to avoid using the zoom. But since then, the Cooke lenses have become very good. I developed an idea of how to use the zoom with Alan, and I started learning certain choreographed movements. The zoom can tell the story-- through maybe not conventionally-- by following the actors around. In the end, it can get into their faces very tightly and reveal their expressions and their eyes. Alan likes that, and I do as well."
- Toyomichi Kurita
"I warned the camera assistant, 'Listen, by the third day, you're going to have to get a new zoom motor.' When he asked why, I said, 'You'll see.' It's not even like you can see the zoom moving; we just put it on the low dial and it creeps. Finally, the inventor of the motor we were using came to visit, and he said to us, 'What is it with you guys?' He gave us some space-age model that he'd invented, the latest thing, and he couldn't believe it when we burned that out too. I said, 'Look, if I were Spielberg or someone people paid attention to, you might invent something to accommodate the way I shoot.' Instead, I just kept burning out zoom motors, which I always do."
- Toyomichi Kurita
While the zoom enabled Rudalph to create more sustained performances, the long takes made great demands on Kurita's photographic crew. The cinematographer says,
"I think that approach worked for the actors, but in the end, we were dealing with a long lens, the focus was difficult and the dolly grip had to be hitting preset marks. All of those factors had to [work together], so it became very complicated for everyone around the camera. It was almost like dancing with the actors."
- Toyomichi Kurita
Of course, that task becomes even tougher when the lens of choice is invariably a zoom, but Kurita has actually learned to stop worrying and love the zoom:
"When I started assisting on films, most of the cameraman said to avoid using the zoom. But since then, the Cooke lenses have become very good. I developed an idea of how to use the zoom with Alan, and I started learning certain choreographed movements. The zoom can tell the story-- through maybe not conventionally-- by following the actors around. In the end, it can get into their faces very tightly and reveal their expressions and their eyes. Alan likes that, and I do as well."
- Toyomichi Kurita
"I warned the camera assistant, 'Listen, by the third day, you're going to have to get a new zoom motor.' When he asked why, I said, 'You'll see.' It's not even like you can see the zoom moving; we just put it on the low dial and it creeps. Finally, the inventor of the motor we were using came to visit, and he said to us, 'What is it with you guys?' He gave us some space-age model that he'd invented, the latest thing, and he couldn't believe it when we burned that out too. I said, 'Look, if I were Spielberg or someone people paid attention to, you might invent something to accommodate the way I shoot.' Instead, I just kept burning out zoom motors, which I always do."
- Toyomichi Kurita
While the zoom enabled Rudalph to create more sustained performances, the long takes made great demands on Kurita's photographic crew. The cinematographer says,
"I think that approach worked for the actors, but in the end, we were dealing with a long lens, the focus was difficult and the dolly grip had to be hitting preset marks. All of those factors had to [work together], so it became very complicated for everyone around the camera. It was almost like dancing with the actors."
- Toyomichi Kurita
24.5.09
Hubert Taczanowski: Camera Lenses, Positioning, & Movement
From American Cinematographer, Rediscovering Eden by Holly Willis (March 1998)
"We never went wider than a 21mm, and the longest lens we used was the 70mm. I don't use zooms. Although there are fantastic zooms available from Arri and Panavision, I'd rather move the camera. I'm really in love with dollying and pushing in and out and adjusting. My philosophy is that when I'm looking at actors, I always put the camera on a dolly and I always make adjustments, even small ones-- 10" or 20"-- moving the camera left or right to get a better view. It's like when your watching something and someone blocks your view; you adjust by moving a little bit. That's how I approach moviemaking-- not necessarily in dramatic movements, like Scorsese does, but rather back and forth, to the left or right."
- Hubert Taczanowski
"We never went wider than a 21mm, and the longest lens we used was the 70mm. I don't use zooms. Although there are fantastic zooms available from Arri and Panavision, I'd rather move the camera. I'm really in love with dollying and pushing in and out and adjusting. My philosophy is that when I'm looking at actors, I always put the camera on a dolly and I always make adjustments, even small ones-- 10" or 20"-- moving the camera left or right to get a better view. It's like when your watching something and someone blocks your view; you adjust by moving a little bit. That's how I approach moviemaking-- not necessarily in dramatic movements, like Scorsese does, but rather back and forth, to the left or right."
- Hubert Taczanowski
11.5.09
Gordon Willis: On Zooms & Video Assist
"Zooms are lazy closeups. And too many people hang their hats on video assist; it's a way to avoid too much. Video assist helps people dissociate from the scene that they are directing. Pretty soon the director will be directing all the way from his apartment."
-Gordon Willis, ASC
-Gordon Willis, ASC
M. Night Shyamalan: On Zooms
"It [zooming] creates a different emotion- when you zoom in, it's like focusing on a detail in a painting. It's looking at a painting and realizing there's someone in the corner of that room, holding a knife."
-M. Night Shyamalan
-M. Night Shyamalan
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