Anamorphic

Workshop

u ko s BSC
am barlo
Haris Z

On 6 of the 11 movies you photographed in Anamorphic,
what do you like about it ?
“Firstly, I like using the whole negative to achieve a widescreen frame.
That means less grain and much higher definition. That in turn means
I can push the film stock to the extreme knowing that I am not throwing
away a large percentage of it. Most importantly, it’s about control
and aesthetics. The so-called imperfections of ‘Scope’ are actually
the idiosyncrasies that allow you to manipulate an image with a lot
more nuances.
The differences between the types of anamorphic lenses are much
greater than the differences between spherical lenses so the creative
applications are far more varied. Anamorphic lenses have been
developed with individuality in mind while spherical lenses are more
about optical perfection and uniformity. 

but 0mm. I can judge aesthetic qu e a range of di se ei ng th ings in rushes me final are used to m alities in out of focus back fferent shooting an d el l an d w he re to make so inimize distra grounds. why I am so ic lenses have ad ing at fond of them . It had a exactly wha a sharp fall of t we needed f which was smooth and to make her soft. Th . W for her close e found our 150mm (the ups y are about 40 was an old C series shallow dept years old no h of field and w). erine looks qu ite amazing . and that l length in portraiture.that’s er to be look Japanese bo . In e image’s circ e pr og re ss ing and I thin light becomes the out of focu s areas. W hen you are w yo ur lig hting quantified by eh characteri adju yo u can see ho examining th stics may be y. lens is them and th there are no ey are all diff t many of choose which erent. th ry oval high ose are less pron lights appear ounced. Less and how they with my light  Wit h au dience’s at perform whe ing scheme w an t th e fa ll ou t of the actors. means rived from ng in an am orphic becaus It is a photog raphic term to become blur red or fuzzy. Then I do an am or ph ic. or disc may be brighter near brighter near the center. rushes ever y da k that is ry ve confusion. I ne m what yo which even w h a great boke focus and a ci gs the eye to ide Anamorph h effect va nt ag e be cause it brin . ‘In D e character sh eath Defying e is important fo Acts’ it was ve r her to look ry favorite lens beautiful.) tested enough that t week of Different lens en w it hin that firs bokeh produc feeling confid en t. ch a diligent pr arismatic everything ne ofessional an cessary for th d she will do playing. the uminated. ta-Jones is a actress and stunning. Bok phasize st m en ts . I ca n st ar t the first wee w depth of fi eld. each le of ideas ar a disc. or beautiful blur in ‘Scope’. they ng w your the primary ctions and em what is worki able to watch subject. and Cath skin look on that lens. Every unique and di anamorphic fferent. can be very The Panavisi useful in a great close on C series 15 up lens. you have te nt io n to go. (*Bokeh. round and Is photograph ing faces on more “challe Anamorphic nging” ? lenses “Quite the op posite. so you one is suitab have to le for a certai Catherine Ze n face. How do you prepare your lens packag e? I start off wit h a selection Panavision. D n I photogra where you ns parts of the frame eir epth of field ph tests on fi el d m ea e th at to th actually look is not somet depth of at og ra ph er can us u for lenses wit hing I go for. So the edge. of lenses and at project char evaluate thei ts through ea r individual ch lens to l over tests to see ho characterist more contro w they work ics. de want the view e it means keru. orki very Also I like w to film so it is of out of focu referring to th e appearance u ca n pr in t directly on t sh oo ti ng I have camera lens s areas in an image produc yo B y th e ti m e we star k’s work using a shallo ed by a immediate . Depen point of corrected for ding on how important.” spherical ab a lens is uniformly ill erration.even lens is the same seri the same foca es.

I find the C100 mm and the C13 5 mm are both excellent portrait lenses becaus e they are very sharp in the middle. every wanted to show every wrinkle C150mm. but r face s so I cho se Primo characteristic of thei when we projected our rushes in the evening. the lot when determining the texture you are crea ting .” Anamorphic of deta il. and “Sleuth” I lit below the eye use any filtratio n or diff usio n. For Meryl and we Streep on “Mamma Mia” I had and the choreography led the way to calculate by eye how much diffusion to use on each d to photograph lens while There are times when you nee determining what lighting best suited her face. The work to help actors appear you plus we had a great stea follo wed .it was very wrinkle on Michael Caine’s t ver y dar k on ‘Sleuth’ and unforgiving. I believe . e Law’s face. You need to observe the actors meticulously and see how the symmetry of their face works and how you can enhance that. mountain. what the director Hav ing a much narrower what actually pleases you. We s. noth ing was soften an image rather than acti role. There were tim es in Greece on a on ‘Sleuth’. And making mature leading ladies appear young and beautiful ? “Every face tells you what to do. what lighting setu p can help remove the lines to be more flattering and show an inner youth. ASC. you find will accept. and that counts a what people look most at in a film look . ‘Sco pe’ can also help portraiture. they show you the spe cific area of the frame (or field) to best place you ’ we had to r subject in. That lets you kee that faces are gentle effect on the skin. We wen lot whi ch was a deli bera te underlit a of sett ing the acto rs aga inst the bold colourful way walls or background. and Jude is fairly strong. stag e I ask ed Part of the cinematographer’s boat. eve ry line. there was constan important to maintain a consist ency and match the . Lens choice and filtration works in conjunction with that. that it looked like it was snowing. the mood. and get away with. out what you can In the testing process.” . you can see cheekbones and chins. I their characters on ‘Venus’ and bright sunny day using a Classic soft 2 on a . Peter actors in unf lattering way often used a Classic soft 2 on a C100mm lens which Law didn ’t min d when it suited O’Toole. I favor Schneid er filters and often for this rom antic leading a distinct type of make-up choose Classic soft for diffusion because it seems to mus ical num bers . but there is nothing different to aesthetic tha how I use them on she looks and had She is very particular about how spherical lenses. Mic hael Caine. It’s t mov eme nt while ever static. With all the ng like a filter. I read “The Light On Her Face” by Jo Walker.) For Meryl Streep on ‘Mamma Mia ain lens es to achieve the carefully choose cert Sometimes I use filters or diffusio n on anamorphics. not abo ve. beach. it s whi ch are ver y pre cise lenses with looked absolutely fine. nger.dan cing . (This is how the test charts are useful. being The fall off is very important in blur ry around the very sharp in the middle and p the eye s sharp but gives a edges. t was requ ired for the film and for her.jum ping- they were running-singing rs and density of the filtration on differen t focal length lenses ama zing crew of ope rato sweating… I had an every so that the image doesn’t jump from shot to shot. depth of field with that respect. and then there is a drastic fall off in the other parts of the frame where thin gs fade away or disappear completely. On great resolution that shows a lot didn’t s. set or mus ic job is to do cosmetic dica m ope rato r. a cran e on grips who really tried hard to get them to. every You can see every pore on Jud skin . when I was a film student and was inspired by his approach to ligh ting women.

At the end of the day. th right decision the e s you make un set. When onounced. and I have to say . I ch y an d the n ch ecked another one the corrections pp y with I am really very ha sent. Bristol Road. I’m fr t suits the rules”. and who don’t lik who are very e rules cameras for happy to set a scene just up 2 or 3 moment or an to catch the expression on dramatic it’s fantastic a face. the . speed with w ep you do be hich you light forehand. It is jus t a of the final print the fantastic quality print. spectacular. Somet om imes you have the school of “no Branagh or R a director lik oger Michel e Kenneth anyway. but nothing beats “I love the control of of res olu tio n and ss in terms photochemical proce int .” Panavision Europe. emically ish the film photoch Do you prefer to fin or with a DI ? the a DI. No legal responsibility can be accepted for the results of the Tel: +44 (0) 208 839 7356 use by readers of information or advice given in this publication. whe it’s all about ther anamor how much pr phic or not. Middx. Then ting that have to there are othe be shot more r projects conventional ly. difference is quite pr emically. On “The Other photochemical print en mi nu tes are DI and the rest is opening sev side. and tha stages and lose 2 gen ” difference in quality. team with lo I have a trust them. UB6 8GD The views and comments expressed do not necessarily represent those of Panavison Inc. I ne ed ed a DI on portrait and what that does to n’t use it was worth it. Th ts of experien ey are part of ce and I anamorphic the reason I and work qu can shoot knowing the ickly and effi results can be ciently. We are a lon g way the pr texture and quality of qu ali ty of a trol of a DI and the from getting the con Ma n” . and those ith the format of the film. finer print than a DI atography portant part of cinem I believe the most im d you have the actor’s face an is the presentation of er yo u need a DI y about wheth to think very carefull ur e. When because you it works able to recrea would never te those mom have been traditional co ents by shoo verage. but I wo “Mamma Mia” and it fou gh t for on of the things I unless I have to. One es and a” wa s to make only DI negativ “Mamma Mi ga tive er Positive/ Inter Ne not go through the Int t ma de a huge erations. was finished photoch “Death Defying Acts” d I was done in Australia an Post production was int over to a”so they sent a pr shooting “Mamma Mi ma de my ecked it and Deluxe in London. Metropolitan Centre. the you look at it side by photochemical. I certainly do use my prep strategy that time to find suits each film a lighting good camera individually. . and how many issues have no der pressure thing to do w . Any theories or ‘philosop your work ? hy’ you brin g “Apart from good taste an theme of the d finding wha project. Greenford.