46
SHOOT STORY SOLO
WE WANTED TO CREATE MORE ‘DIRTY FILTHY LENSES’ TO GO ON TO THE MOVIE
uncoated 45mm, and we fast tracked other lenses that had the same feeling to them.” Neil Fanthom talks about a new technology from ARRI that marries old tech with new, “We wanted to create more ‘filthy dirty lenses’ for Bradford to go on to the movie. There was some technology that was being worked on separately from these lenses, which created hybrid lenses with a bit of new and old technology. The old from the fifties and sixties, and the new from 2016. Bradford knew about that – not many people did – and he said that as soon as they were ready he would get them on the movie. So, as soon as new lenses popped up, like the 35mm or 60mm T2, they would go straight onto the show. Some of the lenses that were closing the show just weren’t around at the beginning.” MANAGING THE LIGHT The relationship with the DOP and gaffer is very important, especially with the added pressure of a Star
ABOVE The iconic Millennium Falcon rides once more, to fans’ delight. LEFT This latest Star Wars film promises more sumptuous visuals.
45mm, for instance. With the glass, I felt that I was taking ownership of the process, and this was when Alexa 65 became a real option for us.” RAWGLASS When Bradford first used the 50mm lens that changed his mind on his format direction, it was in a modular form without a scale or ring, just an XPL mount, and could barely be focused. Andrew from ARRI commented, “Neil and I were nervous, as we didn’t know if we were going down the right path. That became the genesis for the whole set of lenses; we used that lens as a template and productized two prototypes of the 50mm for Bradford. Then the other lenses started to fall into place. “We also started to heavily detune the other lenses based on the look of the 50mm; we commissioned the
that this was the lens, and it really set the standard of how far we could push the DNA glass.” By his own admission, Bradford was tired of seeing all this test glass and passed the next step onto his first AC, Jake Marcuson. Bradford talks about what Jake brought to the lens choice. “I didn’t want to question myself any more about the glass, I had to stick with something. Jake came in and said, ‘Let’s take it further’ and took it to the next level - that’s when we really started seeing the DNA glass sing. That’s when those lenses became very special in their own right, it really felt that we were going to use the different glass for very particular reasons. We started to develop rules for when we were going to use coated and uncoated lenses and who we were going to shoot with which lens; Chewie was going to be shot with the
BELOW Alden Ehrenreich (right) and Emilia Clarke in charm mode.
DEFINITIONMAGAZINE.COM
DEFINITION JULY 2018
Powered by FlippingBook