I always use a zoom. If I think I know what the director wants out of a scene and the actors are giving it, I often zoom past one and into the other actor because I think he is coming on; I turn him into #1 by simply driving gently past the other guy. Then I’ve got to race back to the monitor and say, “I’m sorry. I just did a terrible thing. I got so carried away that I pressed the button,” and Anthony (Minghella) would get this wry grin on his face and say, “I loved it, let’s get his reverse now.” So all the little ideas, everything you talked about, come in little ways as you make the film. That’s what I love. If I can’t work with a director like that, I find I get more distant. I think, “Oh, what if?” But I can’t say that, because this director doesn’t want to shoot that way.
(John Seale, ASC, Frost interview, October 2007)
■ I do love working with zooms because they can speed things up a bit. With the Panavision Primo Zooms, I can’t tell the difference between a 40 mm on the zoom and a 40 mm prime; I just can’t see it. I’m sure some people scrutinize it on a collimator to see it falls off at the edge. But when you are watching a film you won’t see any difference. So I use zooms a lot, I like to use zooms on a tracking shot going right to left you can hide a zoom in there and use it for effect.
(Seamus McGarvey, ASC, Frost interview)
■ I like zooms only for particular reasons, to me the effect of the zoom is if someone is focusing their attention on something, it’s like a point of view, narrowing in on something within a frame.
(Roger Deakins, ASC, Frost interview, November 2007)
There is a wide range of zoom lenses available for cinematographers to select from depending on the needs of the production. For example, the Zeiss 21–100 mm, or a 70–200 mm or 28–80 mm compact zoom. There is a 45–250 mm Arri Alura T2.6 Studio Zoom. The range of focal lengths and the size and cost of the lens would depend on the needs of the production.
11. Assassination of Jesse James, photographed by Roger Deakins, ASC
Since the prime lens is created to do just one job many believe that the prime lens is much sharper than the zoom lenses, but today’s Panavision zooms and Zeiss ultra-speed zooms are also very sharp and crisp. The high-speed primes will have a wider iris opening such as a 1.4 to allow more light in and are preferable in low light situations. The cinematographer’s package may include a full set of primes from wide angle, to normal, to longer lenses as well as a zoom, which can be used for other aesthetic and practical applications.
There used to be a quality difference between the zoom and a prime in terms of visual clarity? Do you think there still is?
■ It might not be in terms of the actual sharpness and resolution of the image so much, but there is a quality difference in terms of the length of glass that is in front of you on the lens and how that affects the feel of the camera movement and everything else. It looks different to me anyway. I know John Seale would totally say the antithesis of what I just said (laughs), it’s just interesting that everyone has a different way of working. It’s not that one is right or wrong, but I just get totally fixated working with prime lenses.
(Roger Deakins, ASC, Frost interview, November 2007)
■ I love the change of focal length. I’ll do it in the middle of nearly every shot I operate on; you’ll see the corners of the frame moving. It’s called the imperceptibles you just slightly push in and adjust. You can see it with your brain, but you can’t see it with your eye, I just love it.
(John Seale, ASC, Frost interview)
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