American Cinematographer - April 2014 - 88

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5 Park City Standouts
Top:
Cinematographer
Lyle Vincent
(right) and
director Ana Lily
Amirpour assess
a shot. Bottom:
Preparing the
scene are
(clockwise from
foreground left)
1st AC Joey
Alvarado,
Vincent,
Amirpour, actress
Sheila Vand and
best boy electric
Jake Magee.

to our Steadicam operator, Scott
Dropkin," says Vincent. "He came in for
a week and gave us everything we
needed."
Equally important to the look and
feel are the hard, noir-style lighting and
the 2.40:1 anamorphic image. Of the
latter, Vincent observes, "Lily and I love
all the weird flaws of the lenses - the
flares, the streaking, the breathing, the
distortions." The cinematographer originally hoped to use Panavision C Series
88

April 2014

anamorphics, but they were not available when it came time to shoot. (Some
test shots that he captured with them
made it into the film, however.)
So, he dug out some of his old
Zeiss Xtal Express lenses. "They were
not in good shape," he says, but they
proved ideal for the part. Spherical
lenses adapted with a Shiga anamorphic
element, they had a fast aperture and a
vintage coating that gave a very expressive look. "They were pretty close to the
American Cinematographer

Panavision Cs, but even funkier," says
Vincent.
His well-worn lenses were rebuilt by Panavision optical engineer
Dan Sasaki and Guy McVicker, the
camera service manager at Panavision
Hollywood. Panavision then supplemented Vincent's lenses with some
Cooke and Zeiss Xtal Express anamorphics and added an Angenieux Optimo
25-250mm HR zoom and a 100mm
macro lens. Fortunately, color matching
wasn't an issue because the final image
would be monochrome. "The lenses are
all over the place, and the contrast is
really low, so they don't look great in
color, but in black-and-white they really
shine," says Vincent. "They gave us
more latitude, and the blacks came up a
little. Lily and I loved them."
Vincent's go-to lenses were a
Cooke Xtal Express 25mm T.3 and a
Zeiss Xtal Express 35mm T1.3. "The
25mm is a beautiful lens, and we used it
for POV shots and when the father is
sick and tripping out," he says. "We
usually stopped that down." The 35mm
"was a really funky lens. The edges are
very distorted, and that's particularly
noticeable in shots where the highlights
are really stretched, like right before the



American Cinematographer - April 2014

Table of Contents for the Digital Edition of American Cinematographer - April 2014

Contents
American Cinematographer - April 2014 - Cover1
American Cinematographer - April 2014 - Cover2
American Cinematographer - April 2014 - 1
American Cinematographer - April 2014 - 2
American Cinematographer - April 2014 - Contents
American Cinematographer - April 2014 - 4
American Cinematographer - April 2014 - 5
American Cinematographer - April 2014 - 6
American Cinematographer - April 2014 - 7
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