要求制片方“采用 MONSTER GLASS 镜头!

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ONLY I ASKED TO THE PRODUCTION “GET THE MONSTER
GLASS!”SAYS SHU HIRAYAMA – DIRECTOR OF
PHOTOGRAPHY?ON BORN IN HEAVEN

要求制片方“采用 MONSTER GLASS 镜头!”《BORN IN HEAVEN》摄影导演 SHU HIRAYAMA 说



A DP review of?Optimo Anamorphic 42-420 A2S
摄影导演对安琴 Optimo Anamorphic 42-420 A2S 镜头的评价
"First of all, I’m very satisfied about what the Optimo Anamorphic 42-420 A2S brought to this movie Born In Heaven. It gave me, the DP, various creative options in preproduction and these came true on the set as well as in postproduction.
“首先，我对安琴Optimo Anamorphic 42-420 A2S 就电影《Born In Heaven》做出的拍摄效果感到相当满意。作为一名摄影导演，我在前期制作中构想的各种创作意念，都在片场和后期制作中现实了。
At the beginning of the production we were planning to rent an?Optimo Anamorphic 30-72 A2S. That is also a very beautiful and instantaneous glass, but I was concerned with several conditions we would face. Specifically some camera movements like Crush zooms / long Vertigo Dolly Zoom / tight shots in crowd, not to mention we had to work on both tiny and wide locations. Fortunately, I had the opportunity to talk with Nick Hayes, the North American sales manager for Angenieux, and he suggested using the new?Optimo Anamorphic 42-420 A2S?prototype to achieve them.
The 10x zoom range is so convenient and useful for this production’s situations which are not like shooting in a big studio. Our limitations came out in camera positions and production designs for these locations. With this lens I could make detailed adjustments for framing; without struggling and taking risk for changing lenses in tiny spaces on tight schedules".
在拍摄之初，我们计划租用安琴?Optimo Anamorphic 30-72 A2S。这也是一款优秀的镜头，但我对我们可能面临一些情况忧心忡忡。特别是一些摄影机运用，如跳跃式变焦/长镜头滑动变焦/人群中的密集拍摄，更不必说我们必须同时在狭小和较宽的场地进行拍摄。幸运的是，我有机会与安琴的北美销售经理 Nick Hayes 进行交谈，他建议使用新款 Optimo Anamorphic 42-420 A2S 工程样机来肩负上述任务。对于这种并非在大型摄影棚内进行的拍摄，10倍变焦范围非常方便和实用。我们的限制来自于拍摄地点的摄影机位和拍摄设计。有了这个镜头，我可以仔细调整画幅，从容拍摄，而不必冒险在在狭小空间内更换镜头。”



"The lens’ abilities were not only its practical range, but also fidelity color capturing which would stimulate the controlled lightings and distinctness pictures on both fastest T4.5 and longest 420mm; which were beyond expectations. These clear images surprised me so much; when I shot extremely close up at 420mm with some distance of ruck focus, I almost forgot we were shooting on an anamorphic lens because of the limpidness.
“这款镜头的优势不仅在于它的实用范围，还在于它的保真色彩捕捉能力——可在最快的 T4.5 和最长的 420mm焦距 形成可控的亮度和清晰度；这种性能是出乎我的意料。这些清晰的画面让我非常惊讶；当我在 420mm 的极近距离进行变焦拍摄时，清晰的画面让我几乎忘记了我们是在用变形镜头拍摄。



We made shots with dolly, slider, jib and handheld as well, and they all worked well. Optimo Anamorphic 42-420 A2S is not a small lens and weighs on your camera, therefore choosing a right camera head is mandatory. On the other hand you are good to work with almost all of the basic equipment without any concern. The handheld shots weren’t very easy but workable. To top it off, the combination of handheld and zoom work made one of signature shots on the film.
我们用摄影道来车、滑轨、摇臂以及手持方式进行拍摄时，效果都很好。安琴Optimo Anamorphic 42-420 A2S 不是一个小镜头，放在相机上很重，因此必须选择一个合适的摄影机头。另一方面，你可以毫无顾虑地使用几乎所有基本设备。手持拍摄并不容易，但仍可以操作。最重要的是，手持和变焦拍摄的结合成就了电影中的一个标志性镜头。
Finally, I am a big fan of anamorphic lenses as are many DPs around the world. Born in Heaven was a low budget project to say the least, but thanks to supporting of Nick Hayes and Angenieux; we worked with the new, out of this world, lens: Optimo Anamorphic 42-420 A2S. The shots we captured were both beautiful and meaningful footage for the story we were trying to tell. This is the priority purpose of cinematography. I strongly believe that the film will come to life as a direct result of choosing this lens".
最后，就像世界各地的许多摄影导演一样，我是变形宽银幕镜头的忠实粉丝。事实上，《Born In Heaven》是一个低预算项目，但多亏了 Nick Hayes和安琴的支持，让我们能使用这一新款产品Optimo Anamorphic 42-420mm A2S。我们拍摄的镜头为我们试图讲述的故事提供了精美且有意义的素材。这是电影摄影的首要目的。我坚信这部电影将因为选择了这款镜头而更加生动。”
SHU HIRAYAMA – Director of Photography
SHU HIRAYAMA – 摄影导演



Crew reviews of?Optimo Anamorphic 42-420 A2S
剧组对安琴 Optimo Anamorphic 42-420 A2S 的评价
In this project ‘Born In Heaven’, my biggest concern is always time and budget. Because low budget films don’t have enough financing, they make their shooting schedules really tight. However, since we got the anamorphic zoom lens, we saved a lot of our time. We didn’t have to change our lens and most of our shots worked with the lens; which is 42-420. Also we could try plenty of various shots which are crash zooming, zooming in with handheld, and dolly zoom. It gives our film a more interesting and cinematic look. Personally, I love flares from the anamorphic lens. It helps us for making our specific tone which is ‘Born In Heaven’.
在《Born In Heaven》这个项目中，我最关心的始终是时间和预算。因为低成本电影没有足够的资金，所以他们的拍摄日程非常紧张。然而，采用变形变焦镜头为我们节省了大量的时间。我们不需要更换镜头，大部分拍摄都是基于镜头 42 - 420。此外，我们还可以尝试许多不同的拍摄方式，包括跳跃式变焦拍摄、手持变焦拍摄和摄影车变焦拍摄。它使我们的电影呈现出更有趣的影片效果。个人而言，我喜欢变形镜头的耀斑。它帮助我们确定了《Born In Heaven》的特定基调。
JUNGHOON LEE – Director / Executive Producer
JUNGHOON LEE – 导演兼执行制片人
?


I had heard a lot about the Angenieux lens and its capabilities, but this was my first Hands-on experience with the lens and I found that it was all that I had heard about, and more. It has a unique cinematic look and strikes the perfect balance between sharpness and softness. Speaking from the view of a First AC, I found the range of lens to be extremely convenient and time saving - A critical factor during any video or film shoot. I love it and I hope to gain a more in-depth understanding of it in the near future!
我对安琴镜头及其功能颇有耳闻，但这是我第一次亲身体验该产品，并且发现果然名不虚传。它具有独特的电影效果，在锐度和柔度之间达到了完美的平衡。作为第一摄影助理，我发现镜头的范围非常方便且节省时间；对于任何视频或电影拍摄，这都是一个关键因素。我喜欢它，希望在不久的将来能对它有更深入的了解!
MYEONGJIN PARK - 1st AC
MYEONGJIN PARK – 第一摄影助理
?
Lighting for the new Angineux 42-420 excited me. We live in an era where directors and cinematographers want increasingly shallower depth of field, and this often times makes lighting an afterthought. With the T4.5, I was forced to light, and it made me get creative with controlling units in the scene and units lighting the scenes. The lens produces beautiful images with a very nice focus roll off. The distortion is actually quite minimal, as such the lens produces a very desirably clean image while staying true to the anamorphic format. This makes VFX and grading ever so slightly easier in the long run.
安琴42-420 的照度让我兴奋不已。现在的导演和摄影师都希望景深越来越浅，而这常常导致灯光是后加的。使用 T4.5 时，我不得不提供照明，这让我在场景控制单元和照明单元的使用上更富有创意。镜头可以产生美丽的图像，并能很好地变焦。失真非常小，因为该镜头在呈现理想、清晰图像的同时保持了真实的变形格式。从长远来看，这使得视觉特效和分级变得更加容易。
JAAN KRISTIAN UTNO – Gaffer
JAAN KRISTIAN UTNO – 灯光师



Conditions of the movie Born In Heaven with?OPTIMO ANAMORPHIC 42-420 A2S:
电影《Born In Heaven》使用 OPTIMO ANAMORPHIC 42-420 A2S 的情况：
- Camera : RED Epic Dragon 6K S35
- 摄影机：RED Epic Dragon 6K S35
- Lens :?OPTIMO ANAMORPHIC 42-420 A2S
(only two shots for specific purpose)
- 镜头：OPTIMO ANAMORPHIC 42-420 A2S
Zeiss CP.2 25mm（仅拍摄了两个镜头，用于特殊目的）
- Lens control : Arri WCU-4
- 镜头控制：Arri WCU-4
- Filters : Pearlescents, Digital Diffusion FXs,?Glimmer Glasses, Polarizers
- 滤镜：Pearlescents, Digital Diffusion FXs,?Glimmer Glasses, Polarizers
- Equipment : Sachtler 7+7 TS, Doorway Dolly,
An Original Slider, Libec Jib 9ft, Handheld rig
- 设备：Sachtler 7+7 TS, Doorway 摄影车、
原装滑轨、Libec摇臂（9ft）、 手持支架
- Camera dpt : DP-Operator, 1st AC, 2nd AC
- 摄影组：摄影导演-操作员、第一摄影助理、第二摄影助理
- Locations : Single Family House [ Day & Night ],?Private High School [ Day ]
- 地点：一所住宅（白天和晚上）、私立高中（白天）
- Others : Short Drama (15), 3days Shooting + 2days Prep,?Super Low Budget
- 其他：短剧(15)，3 天拍摄 + 2 天准备，超低成本