DEFINITION February 2022 – Web



With the industry proudly back on its feet, last year saw countless iconic looks across film and TV. We celebrate the optics that shaped them

WORDS. Lee Renwick IMAGES. Various

I f you were to rank the many constituent parts that go into making the cinema we adore, where would you place lenses? If you ask us, the answer is highly. They’re the vessels through which the real world is filtered before it falls upon the sensor – their finely tuned elements imbuing looks as unique as they are distinctive. They’re engagingly pin-sharp, or seamless in what they depict, or dreamy in their imperfections. They are the eyes of the camera before our own eyes can feast upon the screen, and we adore them. Last year was challenging for film and television. Productions ground to a halt, cinema doors were shuttered and the economic impact was vast. But, ever the fast-paced industry, it wasn’t long before the meteoric comeback. The year 2021 saw some fine cinematography, and we were lucky enough to cover much of it. In doing so, we could focus on important details, like lighting, which cannot be overstated; camera set-up, which makes it all possible; and the seemingly unavoidable trials and tribulations of bringing a script to life. So, it’s time to take a moment to focus more closely on the beloved glass that elevated some distinguished favourites we weren’t able to catch on release, as the months flew by.


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