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INTERVIEW NEWS
THE REASON WE DO ALL THAT IS THAT FOR THE MOST PART DIGITAL IS A BORING FORMAT
breathing or moving there’s no way you can hold focus at plus or minus a millimetre. If you talk to the guys everyone says they love to shoot wide open and they want to take the fast lenses with them. A lot of people do shoot wide open and a lot of people have soft images. I think if you talk to a lot of pros who want to get the shot they are not shooting wide open. If they’re shooting a black cat at midnight on a moonless night maybe they need that speed. I’d argue that speed is not the driving force here.
a boring format. It doesn’t have the same life and richness that film has.
certain cinematographers can do that with their stylish shooting. But I don’t know if lens speed is the issue here, I would argue that speed is not the issue, it’s more of a convenience. If you think about T2, the S7s are T2, which at full-frame is super speed meaning that the depth-of- field on some lenses is going to be in the range of plus or minus one millimetre. I’m sorry, I don’t care how good a focus puller you are, you can not hold focus unless you’re shooting a brick wall or a dead body! If it’s
ABOVE Les Zellan and their technical OSCAR. ABOVE LEFT Shots from the ever expanding factory site in Leicester, UK.
Def: Surely the most important feature for the S7s is to have a set of fast glass, especially for episodics where the nature of production demands quick set-ups and minimal lighting? LZ: Cinematographers are looking to put personality and character into what could be a pretty sterile image. Certainly old lenses can do that, anamorphic lenses can do that and
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MARCH 2018 DEFINITION
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