CATCH 22 | DRAMA
ABSURDITY AS A THEME Ruhe’s goal was to contrast the horror of the aerial scenes and the absurdity of the ground scenes. To do that, he made use of two identical sets of Cooke S4/i prime lenses – 14mm, 18mm, 21mm, 25mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm and 135mm focal lengths – shooting with the Arri Alexa Mini’s Super 35mm (2.8K) sensor in Arri Raw 16:9, which would later be finished in 4K HDR. “We had two sets of camera/lens combinations as we were cross shooting as well as having some days with splinter [second] unit shooting,” explains Ruhe. “While I used all of the lenses, the 32mm was my all-time favourite for close-ups inside the planes. Although, to be honest, I did have to move to the 50mm at times due to the limited space within those planes.” In fact, one of the main benefits of using Cooke S4/i primes for Ruhe was their size. “I had to be very fast and versatile in tight places. I didn’t want to get stuck fighting minimal focus, and thanks to the S4/is, I didn’t,” he adds. While I used all of the lenses, the 32mm was my all-time favourite for close-ups inside the planes
38 Number of uncredited pilots from the ‘70s version
4 Number of available tracks to mix the original soundtrack
ABOVE Martin Ruhe with director/star of Catch-22, George Clooney
AUGUST 20 1 9 | DEF I N I T ION 21
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