ON THE COVER . THE BATMAN
BLURRED LINES FOR BRUCE WAYNE How new anamorphics captured distinct narratives M oviegoers heading to cinemas to watch Matt Reeves’ The Batman are sure to notice a background blurriness in scenes focused on character close-ups – and while production pros will be able to tell that this visual effect is the result of large format camera sensors and anamorphic glass, the look is different. It has a softer, textured feel: out- of-focus areas are more characterful and deconstructed, with enhanced fall-off and stunning bokeh, while point highlights are livelier, with slightly more halation. It’s the product of Arri Rental’s new Alfa anamorphic lenses, which emerged from the company’s long-standing relationship with the film’s DOP Greig Fraser and his request for fresh, large format anamorphic options. In the case of The Batman , the glass was integral to the story; highlighting key narratives as they unfold and enhancing their intensity. For example, in one scene, Batman – portrayed by Robert Pattinson – is standing in front of a hazy wall of newspaper clippings with the words ‘lies’ written across them, in the blood of one of The Riddler’s victims. His costume and discerning facial features, however, are clear in the foreground – indicative of his intent for vengeance.
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