American Cinematographer - February 2009 - (Page 57)

we were shooting at a T4-4.2 using the 70-200mm, which is a T3.5 lens. Panavision originally hoped it would be a T3 or even T3.2, but it didn’t work out that fast. But it’s fine. The great thing about shooting full aperture, which you do with anamorphic, is your field of information is so large that even when you force-develop a stop, you’ve got very high-quality images. Did you keep the zoom lenses on the camera most of the time? Bailey: Our lenses included some Primos, a few E-Series and CSeries lenses and a 3:1 [270-840mm] zoom, but the two new zooms are so good I kept them on almost all the time. I switched back and forth from one to the other. Keeping the same lens on not only saves time, but also eliminates the question of having to match lenses. Your shot-to-shot color and density balance is perfect. I didn’t feel at all compromised in terms of the resolution of the lenses. In fact, I think the 70-200mm is sharper than most prime lenses. I almost always put some diffusion on it! If I were doing an action film, I’d probably shoot it straight, but for women, I always put slight diffusion on it — black nets or [Tiffen] White Pro-Mists or a combination of the two. If you use the right diffusion, you can cut the edge without making the lens seem soft. Have any other developments bolstered the viability of anamorphic in recent years? Bailey: Kodak’s Vision2 stocks have made a huge difference. You have that extra speed and finer grain and can force-develop without being compromised. Also, the advances made in intermediate stocks are absolutely fantastic. When I’m doing an A-B, trying to match quality between a print from the original negative and a fourth-generation release print, they’re very close. You don’t have the loss in quality from answer print to release print that you used to have. ¢ Thank You Dir. Danny Boyle, DoP Anthony Dod Mantle and their team for using the SI-2K Mini in the challenging project to intercut digital and celluloid captured images for the splendid feature film Slumdog Millionaire. © Anthony Dod Mantle SI-2K Digital Cinema Camera info@pstechnik.de www.pstechnik.de hd@siliconimaging.com www.si-2k.com © Pille Film Rental | www.pillefilm.de 57 http://www.cdiabu.com http://www.pstechnik.de http://www.si-2k.com http://www.pillefilm.de http://www.pstechnik.de http://www.si-2k.com

Table of Contents Feed for the Digital Edition of American Cinematographer - February 2009

American Cinematographer - February 2009 Contents Editor's Note Short Takes: Circus Production Slate: The International Reverte 2 Worlds in 3 Dimensions Dead Reckoning Embracing Anamorphic Citizen of the World Post Focus: Restoring Manhatta New Products & Services International Marketplace Classified Ads Ad Index Clubhouse News ASC Close-Up: Peter Suschitzky

American Cinematographer - February 2009

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.