American Cinematographer - September 2008 - (Page 42) Portrait of a Lady With Bess standing steadfastly behind her, Georgina meets Lord Grey’s father for an emotional exchange. tangible difference between the two,” recalls Dibb. “We fell in love with anamorphic, and it suited the ambitions of the piece; we wanted to make it look big and cinematic, to lift everything up that extra level.” When anamorphic won out, Pados and his crew began seeking the right lenses. “I opted for the CSeries,” he says. “I wanted to find softer lenses to give the whole movie a more realistic look, and my first assistant, Rawdon Hayne, helped me find these older, softer lenses when he was testing at Panavision. We found a particularly good close-up lens, a 100mm, that was really soft and worked perfectly for big close-ups. “I tested soft contrast filters at the beginning, but each filter seemed to have a different effect with each lens, especially with the glow around candle flames,” continues Pados. “I couldn’t really control it, so I decided not to use them. In any case, the lenses were very soft, so I didn’t really need the filters. I was shooting almost everything wide open at around T2.8. That can drive the crew crazy, but I really like the look of that shallow depth of field.” The cinematographer used three Kodak Vision2 stocks 42 http://www.congofilms.tv
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