The mountings, the barrelling and the racking of the focus on the Ultra Primes are all very good; they’re really nice lenses to use. Ultimately any lens can be replaced with something else if necessary but these are ARRI lenses and they’re good ones. The range is great; it has everything you want to use and they’re all beautifully sharp. We might not be using them wide open but we’re using them in very dark conditions. I’m not afraid to underexpose the film so in certain instances I may set a lens to T2.8 when it should be more than wide open, but that’s because the film stock lets me do that.
For interiors we tend to use the 50 mm and occasionally a 40 mm because the rooms are quite small, or the 65 mm and 85 mm when there’s a bit more space. Then for exteriors we’re on the 65 mm, 85 mm, 100 mm and 135 mm, or even the 180 mm on rare occasions, so we’re using almost the whole range. I’ve tried to keep exteriors to about T5.6 and T2.8 for interiors, to give Carl Hudson, the focus puller, a bit of depth of field and also just to give it the right look. We did a scene today where characters were running up and down a corridor with no pattern to their movements at all. Carl asked in what order the actors would come into the corridor and of course the answer was that it was different each time.
DoP Barry Ackroyd
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