![]() ![]() The Canon K-35s are a perfect choice for this shooting style, because its painterly effect can keep these longer, locked off shots interesting. These camera setups are usually devoid of camera movement and work to keep audience's emotionally processing the intense, long-spanning drama. This skating rink interior is emblematic of the film's overall photography: long depths of field, fixed points of view almost separate from the action, in a cold, removed perspective. The vintage lens has a softening effect on the actor’s faces, and adds a relaxed feel to the overcast, atmospheric locations. Similarly, skin tones are rendered softer and without the sharpness that's sometimes represented on human faces.ĭirector of Photography Jody Lee Lipes shot Manchester By The Sea using vintage Canon K-35 lenses. Its out of focus areas appear "swirly", lending itself to a softer appearance. The K-35 has a 15-blade iris, which renders bokeh in a soft, circular form. ![]() Compared to modern day lenses, the vintage K-35 cinema lenses also have less contrast, with a look that's been called "painterly". Nowadays, the K-35s have a softer, dreamier appeal unseen in modern day lenses. Since the TV revolution of the past few years, K-35s have been used on a variety of small screen projects like The Handmaid's Tale and Amazon's The Boys.Īt the time of its inception, the K-35 look was sharper and had more contrast than the standard look. The softness and warm flares help establish the story in the reality of the 1970s. It gives a dreamier character and authenticity that is generally lacking among modern-day equipment.Īmerican Hustle cinematographer Linus Sandgren used the vintage K-35 lenses to bring a vintage feel to the period picture. This is because the K-35s have a softening effect on sharp, pixel-perfect digital imagery. In recent years, the K-35s have found plenty of success on Hollywood pictures, big and small. ![]() Their use was continued for decades, and slowed as film embraced a sharper look in the late 90s early 2000s. The Canon K-35 cine lenses had their heyday in the 1970s with classics like Barry Lyndon and later Aliens. From their introduction to the market, these relatively sharper, higher contrast primes had a profound impact on cinema. The presence of the K-35s can be traced back to the early 1970s, when Canon found itself designing a competitor to the Zeiss Super Speeds. Although no paintings were recreated, thousands of paintings served as a moodboard for Stanley Kubrick, John Alcott, and the Production Designer, Ken Adams. The Canon K-35s were employed by Barry Lyndon DP John Alcott to create images reminiscent of English paintings. ![]()
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