chose a combination of Hawk V-Lite and V-Plus 2x anamorphic lenses (procured from Arri Rental). "The Hawks are not as crisp as some of the more modern anamorphic lenses - they have an older feel," he observes. "They take off the curse of digital sharpness and help give the image a more filmic look, but I thought they fell off too much on the edges when they got wider than 50mm, so for anything wider than that, I used 18mm, 21mm and 27mm [Arri] Master Primes. We had to change the gates on the Arricams when we went from anamorphic to spherical or vice versa, and that was a bit of a hassle, but the camera crew was very quick, so it didn't really hold us up." ➣ Top: Claire pursues Nazis as they leave Paris on a train filled with stolen art. Bottom: A lighting diagram details Papamichael's strategy for the scene. www.theasc.com February 2014 39http://www.theasc.com