There were two ways to do this, either with a bellows adjustment or attached a swing-tilt mechanism that would facilitate all kinds of adjustments including side-to-side, forward and back, up and down. The single element attachments were then placed in front of the lens. Kaity took the “Deakinizer elements” and paired with “taking lenses” which consisted of an Arri 32mm AECM T/2.1, an Arri 50mm AECM T/3, and an Arri/Zeiss 60mm T/3. A 35mm lens on a Full Frame camera is around 27,5mm on a Super 35. Combining multiple lenses creates a “signal chain,” so the “taking lens” is the one that is the final link in the chain before the image is captured. Directed by: Ethan Coen, Joel Coen Cinematography: Roger Deakins, ASC, BSC Cameras: Arriflex 535B, Cooke S4 lenses Format: 35mm (Kodak Vision 320T 5277. In the podcast and even interviews Roger refers to different focal lengths and how. These attachments can then be combined with what is referred to as a “taking lens.”Ī “taking lens” simply refers to a prime lens that is nearest the digital sensor or film stock when you have a combination of lenses. Kaity then tried some of the other Deakinizers (2, 2a, 3) which are single-element attachments. The lens had the dreamy look she was hoping for but also found that, with the removal of a single element, the focal length shifted to around 44.5 mm. She first tested what she calls “Deakinizer #1,” which is the modified wide-angle Kinoptik. Williams went down to Otto Nemenz with Jay Holben and model Becka Adams to test out these lenses first hand.
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