RIPLEY PRODUCTION
pretty much so perfect that we don’t get that character any more.” Seeking a blend of vintage characteristics and modern optical technology, Elswit and Sasaki landed on Panavision’s large format VA prime lenses, supplemented with a few select focal lengths from the brand’s Primo 70 and Ultra Speed series. Designed with a compact, lightweight and modern mechanical structure, these lenses deliver state-of-the-art performance while offering predictable aberrations. With a softer look compared to other Panavision lens collections, VA primes excel in close focus capabilities, fast apertures and consistent performance across focal lengths – enhanced by modern coatings to mitigate veiling glare. “They’re really great,” concludes Elswit. “Panavision has given us back a set of lenses which imitate the look of classic movies.” LESSONS LEARNED One hallmark of the series is its sneaky framing and camera movement, which shows us the action from above, below and through foreground objects, adding an air of voyeurism. “Steve was always looking at ways of seeing Ripley through things, as if you’re an objective observer,” notes Elswit.
NOBODY works harder . NOBODY IS more dedicated to a vision . HE IS JUST AN EXTRAORDINARY HUMAN. I’M SO GLAD HE dragged me along ”
“He also made me think about the difference between moving back 15 feet and shooting someone with a longer lens in a medium close-up, and walking right up to them and shooting them with a wider lens; and the difference in intimacy and the feeling of presence,” he continues. “There’s barely a shot in Ripley made with a lens longer than 40mm: everything is wide lenses and mostly close-ups or medium close-ups or 40s. His storytelling sense is really something – and his understanding of what the scene had to be in terms of the emotional connection with the action.” Elswit also credits the director’s influence in shaping his perspective on utilising architectural elements to inform shot design; a technique he’s continued to apply since. “We tried to make sure the
lens choices and how we frame things worked as a complementary version to all these different spaces and buildings around us, and I definitely took that away from Ripley ,” he shares. Elswit was impressed by Zaillian’s uncompromising attitude. “The things you could live with, Steve wouldn’t live with. He was stringent about the design issues and everything. Once I understood this, I would never let things go and think ‘oh I can fix that later’ – which of course we can do in the digital suite. I almost never did that on Ripley ,” he shares. “Nobody works harder. Nobody is more dedicated to a vision. Nobody is more focused. He’s just an extraordinary human being. I’m so glad he dragged me along on this!” Ripley is streaming now on Netflix
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