American Cinematographer - March 1995 - 10
Theo Vein de Sande ASC
shot A/B comparison test
footage with six types
of anamorphic lens. Here
is what he found:
f the
thirty-six features
on as DFJ
three have been anamorphic,"
says Theo Van de Sande. "The
latest is Tenderfoots, to be
released by Fox."
tremely bright lights, much hot¬
ter than the ambient daylight. The
refinery was too big to balance,
but streaks from all those point
I've worked
Lens
sources
and there
shortage
"For about five years, there has
been a shortage of anamorphic
lenses. And new ones have been
coming out-Arriscopes and
Clairmonts, the Angenieux and
Cooke zooms anamorphed by
Clairmont. So I decided to shoot
some tests. It's useful to know
what the various alternatives
are,
"I
how they perform."
Headlights
remember a night exterior in
which
series of
approaching
headlights on high beam shone
directly into the anamorphic
lens. It was a wrong-way chase
scene,
a
the
camera car
would have looked very
strange. In fact, I used Arriscopes
weaving
A/B Test
"Stopping down
Star Test
"For that
shot, streaks had
worked. For most, they probably
wouldn't. To compare the six
available types of anamorphic
lens, I set up a point-source star
test. Projecting the test footage,
it was clear that the Arriscopes
produced no streaking at any stop.
Wide open, the Cooke 40-400mm
showed
small amount. So did
cures streaking
but not distortion or breathing,
of course. To test for those, I
shot A/B footage, again with the
five types of anamorphic fixed
lens and with the Cooke 5 to 1
anamorphed by Clairmont. I
also projection-tested five of the
six and put them on the bench
at two rental houses."
Zoom
"One
edge
surprise for me
the Cooke showed
I had shot the
drew
own
high-beam head¬
a
the flare created linear
streaks right across the frame.
lenses, but not
in
Arriscope 40mm."
aggressive effect than the
concentric flare
with
sphericals."
rings you'd get
streaking among any of them."
Hot streaks?
"Soon after that test, I
made some
long shots at dusk of a huge oil
refinery, lit by hundreds of ex¬
no
straight line better than
lights with. Two stops down,
there was virtually no difference
more
that
anamorphic
lenses, but less than the lens types
Clairmont's
oncoming traffic. As
each set of headlights came at
The Director loved it-a
was
edge distor¬
tion at its wide end, despite be¬
ing a zoom. At 40mm, the Cooke
a
between
us,
streaks."
were no
several of the 40mm fixed
as
good
as
the
Circles/Ovals
"The other surprise was that
the Cooke didn't distort the cen¬
ter of the image when I racked
American Cinematographer - March 1995
Table of Contents for the Digital Edition of American Cinematographer - March 1995
American Cinematographer - March 1995 - 1
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