THE EXTRA ONE PERCENT

By Kevin Nguyen

INTRODUCTION

Since my introduction to cinematography back in 2016, I've always thought the making of a good lens is that it had to be as sharp, crisp, clinical. Fast forward to my time shooting before coming to AFTRS, I’ve used ‘characterful’ lenses for the sake of it. Opting to trying new things out in pursuit of finding my “look” as a cinematographer. Nowadays, as I dive deeper into my own practice and start to think about the story, the mood and tone, I've began to realise that the lens and its characteristics can be used as a storytelling device; one that could elevate the production in such a way that feels intangible and subconscious rather than simply serving as an aesthetic veil over the film. 

From an engineering and design point of view, lenses are nothing more, but a series of glass elements aligned that allows light to bounce, reflect and refract onto a celluloid film plane or a sensor which creates an image. However, it is through the culmination of minute variance in optical design, glass coatings, glass shape and evening the air gaps between glass elements where a lenses distinct look and patina can take shape (Holben & Probst, 2022); producing images that have distinct qualities that can tie into a film's grammar.  

Throughout the 1900’s lenses have gone through several key advancements, such as the development of the cinemascope format (also known as anamorphic), the incorporation of aspheric glass elements in optical design, wider aperture and the use of exotic materials in coatings all derived as a response to industrial, social and economic needs (Salt, 2009). Although at their respective development times, they were revolutionary advancements, they were subject to less precise engineering due to the lack of precision engineering at the time. Nowadays through advancement of optical glass, lens shaping techniques, manufacturers are capable of developing lenses with much tighter tolerances and with more optimal characteristics – which generally, have sharpness, smooth bokeh with a clinical feel embedded into their look (though there are exceptions, Cooke S4’s for example) (Holben & Probst, 2022).  

In today’s industrial climate with the advent of digital cinematography – where today’s sensors do not particularly deviate in look like film stocks in the pass, lenses that were made long before the tight tolerances of lenses made today are now in vogue with cinematographers opting to bring “vintage” characteristics into their visual grammar; characteristics that are often touted as magical and organic (Probst, 2020). As such, my fascination with the “magic” of lens characteristics extended into my research question. How can a cinematographer utilise lens choice and advertently, their characteristics to enhance the drama on screen? It is through practice-based research that I hope to answer this question; as lenses and on a broader note, aesthetics is inherently subjective. I will be exploring the historical context of lens advancements as well as practitioner interviews and articles to gain an understanding of their respective methods and sensibilities. This will be supplemented by my personal lens testing and cataloguing for use as a point of reference and discussion with my collaborators in the pursuit of creating the artefact (Capstone drama). Reflection and analysis will then take place to determine the effectiveness of my research and methods. 

The narrative project I am currently attached to will allow me to answer the above research topic is BoyMode. Boymode tells a story of Transwoman, Elle. Who disguises themselves as the man they used to be in the hopes of connecting with their lost love, Tessa, at their high school reunion. This film, through the context of my research, is a great opportunity to create visual language that explores the inner conflicts of presenting as your authentic self or the façade our character presents.

DEFINITION OF TERMS

ACS - Australian Cinematographers Society
ASC - American Society of Cinematographers
BSC - British Society of Cinematographers
Anamorphic - Also known as cinemascope, is a format in which a squeezed image (produced by an anamorphic lens) is projected onto an image plane to then be “desqueezed” in post or upon projection (Holben & Probst, 2022).  
Flares – A defect in which stray light that is reflected in one or more elements within the lens (or other surfaces such as internal mechanisms) is directed back at the imager (sensor, film stock) (Holben & Probst, 2022).  
Depth of field – describes the area in front of and behind the plane of focus that still appears acceptable sharp as being perceived as being in-focus. Terms such as shallow or deep are used to describe this effect (Holben & Probst, 2022).    
Bokeh – Refers to the out of focus area of an image (Holben & Probst, 2022). 
Falloff – The gradual reduction of performance from the center of the image to the edges
Aberrations - Optical anomalies
Chromatic Aberrations - A misalignment of wavelengths of light which causes coloured fringing (Holben & Probst, 2022).   
Spherical Aberrations - The failure of a lens to focus on a singular focal point which causes softness to the overall image, “double lines” in the out of focus areas and a more dramatic fall off (Holben & Probst, 2022) .  

SOURCE REVIEW

An interesting discovery I made in my research was the lack of objective resources and readings on the emotional implications of lens characteristics aside from one resource that I've discovered. Fortunately, there are plenty of scientific and technical readings as well as more qualitative resources stipulated from practitioner interviews which can supplement my research. From this, certain conclusions can be drawn, the emotional implications of certain lens artefacts which will be further investigated in my practice.  

A large part of the practice-based research that will be undertaken relies heavily on sub-textual and textual analysis of the script to inform the lens & lensing choice. The subtext can be defined as the deeper themes and messages that underpin the written text. As noted by Bogumil, the written word can be described as “textual power” which “become part of readers’ consciousness”, noting that the culture in the post-modern era, is textual (Bogumil & Molino, 1990). Interestingly, as the cultural shift from written text to visual imagery takes place, it could be argued that textual power has not disappeared but has evolved in the visual form; in which case, the understanding of textual power in the context of screen and visual language is ever more important for screen practitioners to understand. To create works that connect with audiences in ways that might not be apparent at first but is absorbed in ways that reflect the drama on screen on a deeper level. 

It’s important to note that the role of the cinematographer is one embedded in collaboration and one that answers to the technical needs of the director and the story, however that is not to say there are ways cinematographers can creatively execute these demands. A peer reviewed article Underexposed: The neglected art of the cinematographer by Philip Cowan highlights the importance of the cinematographer’s voice in shaping visual language, stating that “...both the camera and the light can be used to add layers of meaning, significance and relevant symbolism to the image. This should be the purpose of great cinematography...” (Cowan, 2014). At its core, cinematography is storytelling through visual means, utilizing every aspect of craft knowledge to elevate the story in ways that are symbolic and subtextual. And that the subjective tastes of the practitioner, particularly in how they interpret both the story and the meaning behind the craft knowledge in that context will no doubt find its way on screen.  

Throughout the research and ideation process for the visual language, there have been several influential texts, films and online resources that have shaped the lensing, lens choice and format choice for ‘BoyMode’. Technical literature such as The Cine Lens Manual by Jay Holben and Christopher Probst ASC and Applied Photographic Optics by Sydney F. Ray provides key insight into the technicalities of lens manufacturing, with the former exploring the historical context and creative implications of certain design philosophies and the latter exploring the physics behind individual lens characteristics on a mathematical level. Additionally, both The Cine Lens Manual and Applied Photographic Optics clarifies concepts that have previously been misunderstood, such as the focal lengths relation to the filmstock's/sensor size and utilizes photographic examples to showcase the scientific with the practice. 

Holben and Probst created what is essentially an encyclopedia for cinema lenses and does do not shy away from listing lens manufacturers past and present and provides historical context as well as their respective lines of lenses that are well known and, in some instances, unknown to many. What is most interesting in this text is that it references heavily on the evolution of cinema as well as formats and how this has inadvertently influenced the audience's perception of a film's significance, referencing the anamorphic as one of the more recognizable cinema formats. The Cine Lens Manual provides a strong foundation for the study of lens construction in the context of screen language that demystifies this relatively new domain of artistic expression. The importance of this book is highlighted in its fore word, written by renowned cinematographer Greig Fraser ACS, ASC stating that “They (lenses) imbue the image with an emotional quality whose interpretation varies depending on the chosen lens...Lenses act as the visual cortex of a film...can move the audience's basic emotional response in one way or another...” (Holben & Probst, 2022).  

Film Style and Technology: History and Analysis by Barry Salt provides a insight into the the development and history of motion picture technology and contextualises in great detail how certain trends came to be. Salt also catalogues them in a way that is easily digestable, in decade increments starting from the 1890’s. This book provides key insight into the all facets of cinema, ranging from sound acquisition, special effects to cinematography, including motion picture formats and lens effects; Salt ties these developments to the certain styles that evolved as a result. A common example of this is the symboitic relationship between camera size and camera movement. Interestingly, Salt notes that although the individual mechanics of the machinery in motion picture is grounded in science, “the study of film can never be a real science” (Salt, 2009) and that no film theory can explain everything.

Gustavo Mercado’s The Filmmakers Eye: The language of the lens investigates the pillar characteristics of lenses such as distortion, bokeh, aberrations, fall-off, flaring and associates these into themes represented in works present that have commonly used such lensing techniques. Mercado also provides context on the creative approach that the respective cinematographer and director took that led to their choices. Interestingly, the book acknowledges that the integration of an informed lens choice with other elements such as colour, lighting and composition can help “convey virtually any nuance of behavior, shade of feeling, psychological state, subtext, mood, tone, atmosphere or abstract concept...” (Mercado, 2019). What can be deduced from this sentiment is that lensing and lens choice based on their characteristics and functionality should be used within the context of other creative decisions and should be a decision that should not be taken lightly as it may influence how the audience perceives the story. Mercado notes that the best approach for creating a coherent visual language through lens selection is based on “one or more of the fundamental visual aspects it can control (space, movement, focus, flares, distortion, and “intangible qualities” - the optical characteristics that are unique to each lens), after considering how they can best support the context of your story and framing your shots” (Mercado, 2019). Mercado’s The Filmmakers Eye: The language of the lens compliments the technical and more strictly quantitative works of Ray in Applied Photographic with the historical context as presented by Holben and Probst in The Cine Lens Manual provide foundational knowledge to the area of research.  

The Australian, American and British Cinematographer magazines have been a key proponent to my research as they provide insight into the approach of films through interviews with the practitioners themselves; practitioners whom I admire and have influenced my practice. Although this resource not peer-reviewed, we are able to gain context and perspective of their cinematographic approach with that of the story and the collaboration of the director. Articles such as The Resurgence of Vintge Optics and Why Rehousing Them is a Good Thing by the American Cinematographer Magazine explains the homogeny of modern digital capture as opposed to the filmmstocks that came before it; because of this “the idiosyncratic nuances of individual lenses and lens families are scrutinized as never before” (Probst, 2020). Practitioner articles from the American Cinematographer magazine has also been a cornerstone of lens research. Articles such as La LA Land: City of Stars contextualise the resulting images with the approach. This issue in particular interviews Linus Sandgren ASC FSF on his work on La La Land in which he brought a surrealist quality to the photography. The article highlighted the symbiotic relationship between director and cinematographer collaborations as well as that of the needs of the story, citing their love for the anamorphic and celluloid film combination adding to the romantic undertones of the story (Dillon, 2017).Much like the ASC, the BSC also has their own magazine that shines a light on the practices of industry cinematographers. However, unlike the ASC magazine the BSC introduced a sub-category of articles under the “Focus On” brand which catalogues different aspects of cinematography such as lenses, lighting and virtual production; making it far more convenient when researching these topics. Unfortunately, these “Focus On” articles lack the depth and nuance of lenses and their respective characteristics, only highlighting a general overview of certain sets of lenses.  

Although not lens specific, the Team Deakins podcast helmed by legendary cinematographer Roger Deakins ASC BSC and wife James Deakins, has provided a wealth of knowledge regarding all things' cinematography. In this series of podcasts James and Roger interview industry practitioners from all departments, but generally the interviews are mostly with practicing cinematographers from mid to high level and their respective films. Because most of these practitioners know Roger on a more personal level, there’s a sense of openness and nonchalant commentary from both parties when discussing the practice of cinematography and their respective collaborations, contextualizing their approaches on a more fundamental level. In an early episode of the podcast, James and Roger take questions from the listeners with a topic specifically discussing lens choice and how Roger views lenses as a tool. 

What is interesting is that Roger Deakins is widely known for his taste in pristine, sharp lenses with little to no character, but acknowledges the importance of lens choice and their effect on how audiences perceive characters. Also noting that the language in which filmmakers interpret their ideas cannot be standardised but rather is unique to how each practitioner experiences the world. This puts into question whether lens choices act as both a storytelling device or one that reflects how their respective practitioners see the world. 

Sharegrid’s comprehensive lens test has become an asset for modern cinematographers who lack the time to test and review sets of lenses in varied formats. Supervised by nonother than Jay Holben and in collaboration with lens manufacturers and rental houses, Sharegrid has acknowledged the lack of information in the realm of lens characteristics and aims to rectify that by painstakingly testing a plethora of lens sets under scrutinous conditions, ranging from super35 and large format vintage to anamorphic.  What is fantastic about this resoure is the ‘quad player’ feature, where users are able to select which lenses they would like to compare side by side to one another with synced tests.

This meticulous attention to detail and passion exhibited by this test is reassuring that practitioners see the value of understanding characteristics and how they can pertain to a story or themes.  Unfortunately, as the catalogue of lenses grow with new manufacturers or rehousing of older glass, Sharegrid have yet to update these tests. Making this resource not current to what is actually available to practitioners.

Understanding how other cinematographers, lens their films and their approach on how they choose their lenses is one of significant importance for the research for ‘BoyMode’; however, understanding formats and how they pertain to these choices is equally important which has led the research into case studies as part of the methodology. In the case of ‘BoyMode’, although set as a romantic comedy, had darker undertones of longing and loneliness as the protagonist is under much scrutiny from herself and past colleagues as she dons a disguise that resembles that of her pre-transitioned self. Taking this into account, Mercado notes that the use of selective focus is a common tool used to create a psychological connection with our characters, particularly in that case of showcasing loneliness on screen (Mercado, 2019). This has provided a baseline approach for how both ‘BoyMode’ should be lensed as well as what characteristics should be prioritized when choosing lenses. 

THEORETICAL MODEL & METHODOLOGY

Practice-based research refers to practice as a mechanism for research and interrogation with the intention of gaining knowledge to further one’s practice (Candy, 2006). It is through this approach that I will apply my practice as a cinematographer, informed by research and analysis to create and conceptualize ways a cinematographer can translate lens choices into a tool that reflects and enhances the drama on screen. There are two theoretical models that will be used for this research.  

Art Thinking, Design Thinking:

In the context of my research area, making more informed choices on lenses based on their characteristics and subtleties should start with the artistic conceptualization of the practitioner. The questions imposed on the practitioner from the script unlock vast possibilities in approaches, in turn facilitating various possibilities for the trajectory of the artefact (Capstone narrative). This had led me to believe that the art thinking and design thinking theoretical model is most compatible with my process.  

"Art Thinking...is effective for observing the many possibilities and issues from a 360-degree perspective. Design is a solution to shape a service or product, it is like a direction. Art is a compass". - Hideaki Ogawa (Graf, 2019)

As the process of curating the artefact moves from ideation to preproduction, the practitioner would look to prior tests conducted by first and third-party sources to determine the effects of a lens set or format on the audience conscious and subconscious. Here is whereas the practitioner, we would need to understand the possibilities of the vast ocean that is lens selection. 

KOLB LEARNING CYCLE

The Kolb learning cycle refers to the four-stage process of learning and will be the secondary theoretical model in which I engage my practice in. The components of this learning cycle are the following: reflective observation, abstract conceptualization, active experimentation and concrete experience (Kolb, 1984). To better suit my research, I’ve modified this model – repeating the reflective, conceptualization and experimentation phases of this learning process until a conclusion is made before experiencing the learnings (creation of artefact).  

Using the Kolb learning cycle to supplement my primary theoretical model I will perform an extensive lens test, utilizing a variation of Share grid's testing methodology which incorporates pans, tilts and rack-focusing to bring a greater understanding of each lens under certain conditions. I will be exploring options in both super35 and large format spherical and anamorphic, in which case the results of these tests are to then be analyzed and documented. 

This analysis and reflection will then provide a basis for the conceptualization of how each element can be utilized in the context of story and emotion – findings from these will then be presented to my collaborators for their feedback and input. This process will repeat itself until a set of lenses are deemed the “right fit” for the story and tone in which the final artefact (Narrative capstone project) is made. In conjunction to these tests, ongoing research into films and series that explore the similar themes of the narrative capstone project will be considered, particularly the approach in their lensing and lens choice.  

RESEARCH FINDINGS & REFLECTIONS

THE FIRST READ & APPROACH

Directed by Olivia Aleksoski and production designed by Rachael Haines, Boymode tells a story of Elle, an in-the-closet transwoman who attends her high school reunion in ‘boymode’ to reconnect with the one that got away. Presented in a romantic comedy wrapper, my first read of the script highlighted the duplexity of presenting an inauthentic version of yourself to the world versus who you really are inside. There were also themes of self-doubt, self-acceptance and isolation which leant to a more visceral, textural approach to the photography. This was the core of our approach. As this was Olivia and I’s first film together, I wanted to get a sense of who she was as a director so I could give myself the opportunity to adapt and potentially enhance the approach. From our conversations, it was deduced that Olivia had a performative approach that catered primarily to the needs of the actors and their performance. This approach would allow Rachael and I the creative freedom to explore certain ideas in a broader sense initially, which we would then (under the guidance of Olivia) hone the visual approach of the film.  

After much discussion with Olivia and production designer, Rachael Haines, we decided to lean into a magic realism approach using lighting design, production design and using the camera’s perspective to convey Elle’s emotions on screen. This was due to a number of factors but one that stood out was that 90% of the script was set in the same locations (school hall) which gave Rachael and I liberties in telling the story visually. This approach could potentially be altered or elevated through a selection of lenses.

REFERENCING & CATALOGUING FILMS BASED ON FORMAT - SPHERICAL VS ANAMORPHIC

Naturally, as part of Olivia and I’s process we looked at multiple films to draw inspiration from for BoyMode. We compiled a key list of films / series that resonated with us both aesthetically but also emotionally; we didn’t limit this to magic realist films as that would limit our visual language to a certain subsection of what is a broad media landscape. However, we landed on 6 references that have shaped our approach to BoyMode. Euphoria (season 1), La La Land, Licorice Pizza, A Star is born, Moonlight, & Waves. What was interesting is that there is a mixture of anamorphic and spherical options but leaning much more towards lenses with a vintage quality. Vintage character refers to the lenses that exhibit ‘flaws’ - enhanced flaring, aberrations and less refined glass are some of many hallmarks of a vintage character (Sharegrid, 2017). These characteristics have the power to embed themselves into the subjective nature of their respective films and immerse audiences in the worlds of their characters.  

Admittedly after taking inspiration from A Star is born and Licorice Pizza in particular, Anamorphic felt like the way to go in terms of format due to the more enhanced and apparent character along with our coverage style – primarily focusing either two shots or singles. However, the decision feels too brash without testing and without exploring the vast options available in today's industrial climate. It is also important to contextualize the choices of industry practitioners with both the story and approach of the respective directors.  

VINTAGE VS MODERN CHARACTERISTICS

With vintage qualities being in the forefront of our minds during this pre-production process I couldn’t help but think of ways we could get into the mind of our protagonist for key moments. Particularly distortion where the lenses could bring a slight surrealist quality and allow us to be a more intimate spectator to Elle as she builds up the courage to talk to her lost love. Flaring could be used in times of euphoria; an obtrusive flare could create a veil between the audience and the characters – bringing uncertainty or mystery to the film. These ideas were interesting to both Olivia and I as the script was quite dialogue heavy with little room in the way of grandeur or “showy” cinematography and we wanted the visual approach to support the emotions of our characters. An article by the ASC interviewing cinematographer Matthew Libatique ASC on his work on A Star is Born (2018) highlighted how he utilized vintage anamorphics to bring subjectivity when shooting certain characters. Before I continue it is important to note that when referring to vintage or modern, I am referring to their characteristics; how they look and feel on screen. As modern lenses can be mechanically modern, but exhibit vintage characteristics (an example could be Panavision Primo Artiste).

“I used the Kowa anamorphic primes for Bradley (Cooper) on stage. I wanted something that would have a lot of imperfections – the flaring, the hazing, all the haphazard things that happen with old glass...For things that were a little more objective and non-concert related, I would use the Cooke anamorphics” - Matthew Libatique ASC (Hemphill, 2019) 

What’s interesting is how Libatique did not tie an individual characteristic to the themes of the story, but it’s the culmination of the characteristics playing off one another that gives a general feel which is then used under specific circumstances (in this case, only using vintage anamorphics when shooting concerts or Bradley Coopers character). Thus, tying characteristics to the themes and characters of the story on a subconscious level – reflecting the world in which they inhabit emotionally and mentally. Watching A Star Is Born and contextualizing the film with the approach made sense to me – only realizing now that these small choices in cinematography are what elevates their respective films. I found this approach to be quite reassuring in my attempt to rationalize certain choices for BoyMode as I hope to achieve the same effect and is ultimately what my research is about.  

LENS TESTING & TESTING PARAMETERS

Due to time and budgetary constraints, we looked at a selection of lenses from two rental houses, Panavision and The Front – at the time of testing Panavision did not have any anamorphics in to test so we were limited to a selection of large format and super35 spherical lenses. Due to the lack of anamorphics at Panavision at the time of testing, we tested almost exclusively anamorphic at the Front.  It is also important to note that the Panavision lens test was completed before I tested the lenses at The Front, as such there have been key differences between the approach. Firstly the lack of pans in the Panavision test meant we were unable to see flares move throughout the frame. Secondly the lack of rack focus to view the breathing of the lens in the Panavision test. And lastly the lack of properly compensated exposure when stopping the lens down on The Front’s test, this was due to time restrictions.

The parameters:  We would then expose for T2.8 to allow for exposure leeway as we open up the lens. The Panavision test was shot on the Alexa Mini LF whilst The Front’s test was shot on the Alexa Mini. Although these are two different systems, they share the same ALEVIII sensor wafer as such theoretically, should hold the same colour. I wanted to test how each respective lens renders out highlights, so a strong backlight was needed which also allowed us to test the flares simultaneously. Panning was necessary to see how the lens distorted and how flares played on each side of the frame and the angle in which they affected the frame. This was particularly important as it would inform how subjects are to be framed, whether it be 2,3,4 subjects present within a given frame, it is important to see how that would look. Focus pulls were used to judge both breathing. Fairy lights were set in the background to judge bokeh shape, aberrations both chromatic and spherical – though in hindsight it would have been best to completely scatter the background and potentially foreground as this would allow us to see how the lenses would render out foreground elements. 

We tested the Panavision lenses first; we went through each lens at each focal length in excruciating detail – this took us a whole day to complete and realized quickly we did not have the time to repeat this process a second time, so we decided to refine the process when examining the lenses from ‘The Front’. Things such as testing the lenses at every possible stop and compensating with exposure is something that took us quite a bit of time, we also had less manpower on this day as well which made our day exceptionally longer.  

To remove any pre-conceived biases when presenting this test to the team, I took the unconventional approach of not listing the specific lens set when presenting this test to her. Each lens set would be assigned A, B, C etc. However for the purpose of this exegesis I’ve re-edited the tests to showcase the lens name.

The following lenses were tested: PLEASE TAKE THE CHANCE TO LOOK OVER ON A CALIBRATED MONITOR 

Panavision:

• Primo 70 Artist (27, 40)  

• Super PV 70 (25, 50)

• Arri Ultraprimes (24, 40, 65)

• PV Primo (21, 40) 

• PV Primo Noir (21, 40)  

INITIAL CONCLUSIONS & REFLECTIONS ON THE TEST

After completing this lens test, I’ve had a fair few reflections and thoughts that were immediate. When testing lenses earlier on in the ideation process, testing lenses in the context of the story gives a much more profound experience especially when given the time to discuss with fellow collaborators in intricate detail – how each element of a lens's characteristic could be used to enhance the story and the approach. Through this test I’ve also realised that lens characteristics cannot be quantified in a vacuum, but must be tied to either practitioners receptiveness to the characteristics or in the context of the framework that is the script. As such what I hope this test achieves is that it creates a benchmark in which practitioners can judge if a lens set is right for them and the project.

Interestingly, I found that as I discussed more about lenses in the context to the approach of the film with the Olivia, we unraveled and devised new and interesting ways we could incorporate production design, lighting and colour into the overall visual approach and how characteristics of lenses could enhance the film for each set of lenses which made the options much more exciting. This opened the discussion of what was important to the film and allowed us to have a cohesive vision of what we wanted to achieve with the film – shedding unnecessary ideas. This process is directly aligned with both the art and design thinking theoretical model as well as the Kolb learning cycle, which allows for constant reflection and re-evaluation of ideas. I believe this re-evaluation of ideas in a different context allows for more depth in both conversations and ideations. Such a process is in direct contrast to how I would normally approach the lens selection process, being a very personal choice and often, without the collaboration of another key creatives.  

Another conclusion that I’ve gathered is that as the ideation and pre-production process progresses and departments start to formalize different ideas ie. Locations, Colour, texture, light quality etc. – it is worth re-testing a more carefully selected set of lenses as opposed to a general overview to allow for a re-evaluation of ideas which would allow collaborators to then precisely craft their visual approach. Although this would require time and money (often the two factors that are highly contentious), this approach as specified in the Kolb learning cycle would allow for a stronger sense of ideas. This is something that is missing from this research paper that I believe could be of benefit to practitioners.  

PERSPECTIVE: SUPER35MM ANAMORPHIC & LARGE FORMAT SPHERICAL

After viewing the lens tests, certain things came to light which inspired the approach of the film. Anamorphic or Large Format spherical were the two avenues we were interested in exploring. The main factor for this was the symbiosis of shallow depth of field and a wider field of view associated with these formats as opposed to the standard 3-perf super35mm format. Anamorphics, particularly 2x squeezed anamorphics, require twice the focal length in order to create an equivalent field of view as a standard super35mm lens, thus halving the depth of field (Holben & Probst, 2022).

Converely, Large format follows this same principle of utilising longer focal lengths in order to create an equivalent field of view as an otherwise wider super35mm lens (B, 2021a).

Olivia and I believed that the use of shallow depth of field to isolate our characters and a wider field of view (particularly when using longer lenses) would allow our perspective to feel more observant of our characters and allows the blocking and characters to take center stage of the production. This approach would also allow the audience to gain context of the space whilst providing this sense of isolation.

After further discussions and reflection, we felt that Anamorphic would be best suited for this production. This is due to the limited availability of large format lenses and the need to rent an entirely different camera system from that of the school, this makes it an unfeasible choice. This funneled our choices to just 4 sets of Anamorphic lenses from The Front as listed previously.  

INTERPLAY WITH LIGHTING & PRODUCTION DESIGN

As this lens choice would affect how the camera and advertently, the audience perceive the production design, it was important that discussions with the production designer and lighting designer were had to ensure a cohesive visual and emotional approach. As the main scenes of the film take place in a large school hall at a high school reunion, we were basing our choices primarily on this location. Because of this setting, we felt that shiny, specular texture and highlights in the form of practical lighting or metallic curtains were desirable as it would allow us to achieve a emotional realist feel; as anamorphic bokeh is typically elliptical, this texture is enhanced. 

The use of lighting, particularly moving lights that would change colour throughout the film was a decision born from the evolving discussions from the lens tests. As Olivia and I discussed how we could tie flares and advertently colour to the themes whilst adding to the emotional realist approach of the film, moving lights stood out as a tool that when mixed with the characteristics of anamorphic would elevate this approach. This tool would ultimately allow us creative control and flexibility, specifically on when we’d want to shift the visual language through different patterns or colour changes depending on the mood – creating depth to the images that resonated how our characters are feeling at a given moment.

LENSES, THE HIDDEN CHARACTER

As Olivia and I spoke more about the film, the themes of the script and the emotionality in which we would like to portray respective of our characters, we’ve identified that the Atlas Orion 2x Anamorphics were the lenses that suited our project out of the selection that was present to us. This was because the Orions gave us a variance of looks when either opening up or stopping down, their softness was admired by both Olivia and I as well as their flaring capabilities which gave us control over when and when not to flare. We’ve analysed how this set of lenses performed based on the tests and drawn a framework in which we could exploit how the Orion’s flaring, bokeh and aberrations rendition and how the fall off could interplay within the thematic underpinnings of the script and the emotions of the characters.

FLARE: EUPHORIA OR DISSONANCE?

What was immediate upon researching films shot in anamorphic was the use of flaring for moments of euphoria or bliss. As there is a consensus that anamorphic flares a certain “magic”, it was tempting to adhere to this pre-established language. However, I felt that the way the Orion’s flared invoked a sense of brokenness than magic and less refined due to the strands of stray light being more sporadic compared to the likes of Panavision C and E Series; as such we decided to use the flare to showcase Elle’s mental battles, a show of dissonance and a way the audience could (without being loud in our visual grammar but a part of the verisimilitude) feel both the spark of Elle and Tessa but also a sense that Elle may be uncomfortable when put into this situation.

ABERRATIONS: HOW WE SEE ELLE & HOW ELLE SEES OTHERS

A distinctive trait of front anamorphics is the oval shaped bokeh. However, as we saw from the lens test, shooting the Atlas Orions wide open at T2 would result in diamond shaped bokeh which, accompanied by abrupt chromatic aberrations when wide open would result in an image that felt cluttered or harsh. These chromatic aberrations would introduce purple fringing which would typically be undesirable but we found them to blend quite well with the backdrop. Whereas stopping down to T2.8 would both smoothen out the aberrations and create more of the classic oval shaped bokeh that’s synonymous with anamorphic shooting. As there is a variance of looks depending on the T-stop of the Atlas Orion's, we thought of ways of playing with the perspective of our characters based on these characteristics in the visual language of Boymode.

In this dialogue scene, Elle and Tessa have a flirtatious moment and when it had dawned on Tessa that Elle is feeling “off” and there’s a disconnect of emotions between the two characters. As we’ve taken the magical realism approach, it was apparent in the script that how the audience saw each character was important, as such, we deciphered that our T-stop would become an important tool in influencing this.

This scene we would shoot Tessa at a T2.8 ½ with a generally “cleaner” more refined background, consisting of small, warm practical's, softer colour palette and not much in the way of texture, a representation of how Elle would view her. On the other hand, Elle would be shot almost wide open with a much busier background, and a harsher colour palette, how Tessa would view Elle at this point in the story.

A more extreme example can be seen here. In this scene Max (antagonist) confronts Elle and belittles her. The use of the Orion anamorphics wide open gives a diamond shaped bokeh as opposed to the typical oval shape associated with anamorphics. This shape paired with the busier background gives an unusual feel, one that feels uncomfortable and hostile due to the sharp shapes. Here we see much more aberrations present, these small changes and the interplay between the characteristics of the lens and production design I believe adds to the film on an emotional level – although it may not be apparent at first.  

FALLOFF: INTIMACY, ISOLATION

Falloff is generally tied to the T-stop of a lens, the wider the aperture opens the sharper the fall off and when stopping the aperture down the fall off becomes more gradual (Holben & Probst, 2022). Olivia and I felt that, because the characteristic of falloff (inherent in the anamorphic design) made us look towards the middle of the frame, it felt “right” for us to frame shots with Tessa and Elle towards the center. For me it felt like the world outside of their little bubble (represented through falloff) did not matter when they were together in frame, this was made more apparent with the longer focal lengths. Although the effect is quite subtle, because the story already presented such intimate moments between these two characters, the characteristics layered ontop of this moment, I felt, enhance the emotional arcs of the characters.

“As a cinematographer, it’s my job to help direct the audience’s eye to the most important part of the frame...” - Greig Fraser ACS, ASC (Holben & Probst, 2022)  

In both frames where Tessa and Elle have their moments together, we can see the role both falloff and shallow depth of field play in creating both isolation and intimacy between the two characters. I believe that these scenes would have been perfectly adequate without the lens characteristics due to these moments being the climax’s of their respective scenes. However, I can’t help but think that these characteristics helped emphasise the tenderness of this intimate moment. It was also the lenses that informed the lighting for these scenes, as I hoped to bring out this patina for special moments.

CONCLUSION

As I conclude this exegesis it is important to look back at my time here at AFTRS and the capstone project I’ve created with my colleagues and ask, what is the role of a cinematographer? Before studying at AFTRS I would have answered that the role of a cinematographer is to use their craft knowledge of technical tools to tell stories. But now, I think the role of a cinematographer is to combine craft knowledge, their perceptions of the world and the perceptions of their collaborators, to tell stories. It is clear that lens characteristics on their own exhibit a tangible element, particularly when observed in a vacuum through a test and without consideration of story. However, when underpinned by the script and as a part of a unified approach in perspective, format, framing, lighting, colour and mis-en-scene, lenses take on a subtextual meaning that feels emotionally embedded into the story, acting as a binder to all the visual elements. As such, I believe choosing a set of lenses is choosing the gateway into the soul of the film and that the choices a cinematographer makes in their lens selection ultimately is a reflection on how they both interact and interpret the world around them. 

“The core of optics is all about emotional response. Likewise, the core of motion pictures is also all about emotional response.” - Greig Fraser ASC ACS (Holben & Probst, 2022) 

“Lenses also offer a means of isolating, juxtaposing or combining subjects and suggesting spatial and tonal relationships…” (Ray, 2002)

As a result of my practice-based research, I've discovered certain frameworks in which cinematographers can ensure their choices are well considered. The role of the script is to guide your ideation with that of your collaborators to generate discussion and in-depth conversations on the approach of the film; to discover the subtextual and textual meanings of the script that reveal the thematic and emotional underpinnings of the story and characters. Utilising lens tests not just as a way to view optics, but to open up discussions on the overall approach of the film, to discover what may or may not work in the context of the film and to the needs of your collaborators. Utilizing the Kolb learning cycle, practitioners should be consistently evaluating and re-evaluating these ideas in tandem with their collaborators to ensure a unified approach. As filmmaking is a collaborative endeavor, it is imperative to note and be receptive to both the intuitions and emotions of yourself and your collaborators, as this is often just as valid as a more logical approach. What I hope is that readers of this exegesis do not take my interpretations of certain lens characteristics as their own, but rather use it as a framework in which they can discover their own meanings of certain attributes or discover ways in which they can create their respective visual approaches.  

My approach to cinematographer has evolved throughout the process of this paper, to not view cinematography as simply a series of aesthetic choices to be placed as a veil to an overall project, but to be deeply integrated into the thematic and emotional underpinnings of the script; as the job of the cinematographer is not to make pretty motion pictures, but to tell stories. The research question How can a cinematographer utilise lens choice and advertently, their characteristics to enhance the drama on screen? Is one that extends beyond lenses but rather into the wider holistic cinematographic approach, which I hope to evolve and refine as I continue my life-long practice.

Thank you to the following:

The Front
Panavision
Alex Shingles
Aliecia Braddock
Ian Tamawidjaja

Please find the bibliography HERE.