American Cinematographer - September 2013 - 68
◗
Pounding More Than Pints
The friends
realize partway
through their
pub crawl that
something is
amiss in
Newton Haven.
even been catalogued. Their glass
elements were marred with fungus, and
their mechanisms had seized with
disuse, but Sasaki was able to force the
movements on two primes and a 4595mm (T4) zoom lens and shoot some
tests with an Arri Alexa. When Pope
saw the results, he was astonished. “The
coatings are so old the flares are bodacious,” he recalls. “Each lens has its own
68
September 2013
unique aberrations and flare color. The
edges of the frame are nicely out of
focus.”
Sasaki deconstructed several sets
of B Series and used the cleanest
elements to create a new set of primes:
35mm (T2.5), 40mm (T2.8), 50mm
(T2.5), 75mm (T2.8) and 100mm
(T2.8). He also provided Pope with a
55mm B Series Macro and an entirely
American Cinematographer
new 28mm B Series lens.
For the show’s spherical work,
Pope chose Primo T1.9 and Zeiss
Distagon T1.3 primes, a 4:1 (17.575mm) T2.3 Primo Zoom and a 12:1
Angenieux Optimo 24-290mm T2.8
zoom. Because of speed differences
among all the lenses, he shot most of
World’s End at T2.8, occasionally stopping down to T4. “T2.8 is usually my
target stop, because I want to control
where the viewer’s eye goes without
killing the camera assistants,” he says.
“When you’re working fast, too many
mistakes happen at T1.4.”
Pope and Wright worked at
breakneck speed to complete Scott
Pilgrim in 104 days, sometimes logging
200 setups in a week, and although
World’s End was a relatively smaller
production, the crew had a similarly
ambitious 12-week schedule that
involved location and stage work,
extensive night shooting and lots of
action. In light of this, Pope appreciated
Wright’s habit of planning each day
down to the last detail. “Edgar is the
most prepared director I’ve ever met,”
he notes. “I got a shot list every night,
American Cinematographer - September 2013
Table of Contents for the Digital Edition of American Cinematographer - September 2013
Contents
American Cinematographer - September 2013 - Cover1
American Cinematographer - September 2013 - Cover2
American Cinematographer - September 2013 - 1
American Cinematographer - September 2013 - 2
American Cinematographer - September 2013 - Contents
American Cinematographer - September 2013 - 4
American Cinematographer - September 2013 - 5
American Cinematographer - September 2013 - 6
American Cinematographer - September 2013 - 7
American Cinematographer - September 2013 - 8
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American Cinematographer - September 2013 - 27
American Cinematographer - September 2013 - 28
American Cinematographer - September 2013 - 29
American Cinematographer - September 2013 - 30
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American Cinematographer - September 2013 - 39
American Cinematographer - September 2013 - 40
American Cinematographer - September 2013 - K1
American Cinematographer - September 2013 - K2
American Cinematographer - September 2013 - K3
American Cinematographer - September 2013 - K4
American Cinematographer - September 2013 - K5
American Cinematographer - September 2013 - K6
American Cinematographer - September 2013 - K7
American Cinematographer - September 2013 - K8
American Cinematographer - September 2013 - K9
American Cinematographer - September 2013 - K10
American Cinematographer - September 2013 - K11
American Cinematographer - September 2013 - K12
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