0000009295 00000 n Then everything grew out of that first shot, including you.”, Click here to read our Summer 2020 issue, featuring, Jim Hemphill sat down with three of the film’s actors. The Carl Zeiss Planar 50mm f/0.7 is one of the largest relative aperture (fastest) lenses in the history of photography. I’ve always been a natural light source type of cameraman — if one can put it that way. This is very difficult to do with some of the motorized zoom controls. It was a modern story taking place in an advanced period of the 1980s — although the period was never actually pinpointed in the picture. However, when you did a photographic test you discovered that it had no depth at all — which one expected anyway. According to https://web.archive.org/web/20090309005033/http://ogiroux.blogspot.com/2008/06/worlds-fastest-lens-zeiss-50mm-f07.html linked in @Hobbes' linked Wikipedia article Carl Zeiss Planar 50mm f/0.7. These variations allow a redistribution of the charge which remains after exposure. An almost fanatical perfectionist, he drives his co-workers seemingly beyond the limits of their endurance toward heights of achievement they never imagined, let alone hoped to attain. Can you tell me about these and how they were executed? The lens and camera were sent to Kubrick, who film-tested it and reported that the results were fantastic. — John Alcott. Previously at Filmmaker, Jim Hemphill sat down with three of the film’s actors for a discussion of the making of that modern classic. It’s like converting a ¼-inch move into a 1-inch move. site design / logo © 2020 Stack Exchange Inc; user contributions licensed under cc by-sa. 0000010075 00000 n At the very early stages of his preparation for Barry Lyndon, Kubrick scoured the world looking for exotic, ultra-fast lenses, because he knew he would be shooting extremely low-light level scenes. Perhaps the most famous of Kubrick’s lenses is the Zeiss Planar 50 mm f/0.7 lens by Carl Zeiss. He demands perfection, but he will give you all the help you need, if he thinks that whatever you want to do will accomplish the desired result. We went ahead with his program and were just able to put together a working prototype, still not properly finished or calibrated, so, that Kubrick would have it in time for the filming. So, let’s take a look into how John Alcott — Kubrick’s right-hand man — was able to develop, and ultimately shape, the future of cinematography. It’s got a finer aperture adjustment — more so than most other cameras — which allows you to cater to light variations while you’re actually shooting. 0000003718 00000 n A former still photographer for Look magazine, Kubrick has become extremely knowledgeable with regard to lenses and, in fact, has taught himself every phase of the technical application of his filming equipment. The engineering looks eloquent to me. Comparing the two, purely as a point of interest, how would you describe those stylistic differences? We did discuss the possibility for Barry Lyndon, but then we thought: “Well, it’s been done before so many times; let’s try for something different. He cares nothing for personal publicity and is all but inaccessible to journalists — which is understandable, considering how many so-called “journalists” hanging onto the fringes of the film world are such unprincipled swine. If the grain is finer, this will increase the apparent contrast. Stanley Kubrick used a NASA-inspired lens to film by candlelight in Barry Lyndon, but what did NASA use it for? They were the best. So we controlled the light in such a way that it fell upon the center of the table at which they were having their meal, with the rest of the room falling off into nice subdued, subtle color. Use MathJax to format equations. (Incidentally, if you don't know about Lunar Orbiter: it was an amazing thing which processed film in space!). Asking for help, clarification, or responding to other answers. I find it to be a little bit better than the tracing paper. At this point, Kubrick complained that the single 50mm focal length was too limiting and that what he required was a wider-angle lens of the same speed. 0000001536 00000 n After helming a couple of non-Kubrick projects, Alcott was again called to take on the role of cinematographer for Barry Lyndon, a decorative period drama which would earn Alcott an Academy Award for Best Cinematography. What were some of the other problems attendant to using this ultra-fast lens to shoot entire by candlelight? We had a non-reflexed Mitchell BNC which was sent over to Ed DiGiulio to be reconstructed to accept this ultra-fast lens. At the time, there wasn’t a lens fast enough to get a decent exposure in such low lighting conditions. Yes, it’s done a lot. But some of the links to details of the survey stuff are broken. “He’s got this huge reputation for being a control freak, but when he found the right actor for the role he would just let them go and see what they brought to it,” said Vitali. The requirement was to bring the light up to a level so that we could shoot from 8 o’clock in the morning until something like 7 o’clock in the evening — while maintaining the consistent effect. In fact, it’s the only light of its type that gives you a fantastic spot, if you need it, and an absolute overall flood. It works on a principle of mirrors and simply reflects what is “sees,” resulting in a much brighter image. Our company motto is: "Technology in the Service of Creativity." The Zeiss Planar 50mm f / 0.7 lens is a very fabled, which had arisen as a … American Cinematographer: You’ve worked with Stanley Kubrick on three pictures: 2001: A Space Odyssey, A Clockwork Orange and now Barry Lyndon. What is clear is that evidence for the general consensus that it was developed for (and perhaps used by) Apollo is at least sparse. The lens was mechanically redesigned by Cinema Products, USA, in order to fit Kubrick’s own Mitchell BNC 35mm camera. 0000023203 00000 n I think the most difficult bit was the scene in the club when Barry comes over to confront the nobleman sitting at the other table, is given the cold shoulder and then goes back to his own table. The lens they ended up finding for Barry Lyndon was a Zeiss f/0.7 50 mm lens that was developed for NASA to take pictures of the dark side of the Moon (American Cinematographer). The second reason was simply that the exterior light was sometimes so low that I needed the extra two-thirds of a stop. Does copyright law protect a translation of an ancient work from being translated into a third language? He will give you full power to do it. In most instances we were trying to create the feeling of natural light within the houses, mostly stately homes, that we used as shooting locations. He is, as I’ve said before, very demanding. Kubrick had wanted to shot by candlelight for a film on Napoleon he was researching. There isn’t actually on the Arriflex 35BL lenses either, but it’s the gearing mechanism on the outside that offers the larger scale and, therefore, the possibility of more precise adjustment. It’s got a much larger scale and, therefore, a finer adjustment than most cameras. The frequency-modulated signal is amplified, and the signals from the two channels are combined and transmitted to Earth through the spacecraft high-gain antenna.
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