poor thing is a stunning feature film that achieves beautiful visual effects through unconventional lens choices. In this article, we’ll look at four lenses used to create this iconic look.
Before we unbox each lens, it’s worth noting that the film benefits from a range of glass—not just the four lenses we’ll be highlighting today.
For example, Bella’s resurrection sequence was shot with an old-fashioned camera (Beaumont Vista Vision), which required very special glass. That is, modified Leica APO Summicron-R and Telyt-R lenses with a focal length range of 19mm – 135mm.
The Vista Vision camera was too noisy to be used in other parts of the film, but it was strategically used for this sequence because it didn’t have any dialogue.
In addition to the main four lenses, a number of other primes and zoom lenses were used, which I will briefly describe below. But from my perspective as a viewer, the most crucial shots to the final look poor thing as follows–
Optex 4mm (Super 16 lens)
Some of the most striking shots in the film were shot using an ultra-wide-angle 4mm Optex lens, which is suitable for 35mm cameras.
Since the lens is very wide and is designed for Super 16 camera, which creates a porthole effect. Essentially, there is a circular image in the center of the frame surrounded by darkness – a very unique look.
It’s a beauty that only the Optex 4mm can truly capture, as it’s one of the widest S16 lenses available. And it’s not really fisheye, which helps make the image more grounded. It’s known for being sharp in the middle (especially at T4) and tapering off at the edges.
The Optex 4mm is also very easy to use because the lens has a fixed focal length and no lens barrel to pull focus. At this focal length, basically everything is in focus all the time. There’s no doubt this affects the creative process on set as much as the final creative outcome.
8mm Oppenheimer/Nikkor
Two Key Wide Angle Lenses Used poor thing It’s 10mm Arri / Zeiss and 8mm Oppenheimer / Nikkor lenses. Both produced some stunning shots.
That said, in my opinion, the 8mm Oppenheimer/Nikkor lens contributes most to the film’s strong visual palette.
Director of photography Robbie Ryan talks about the “noticeable curvature” of the 8mm lens, which distorts the image in mesmerizing ways. While many photographers shy away from this type of glass, Robbie Ryan and director Yorgos Lanthimos exploited its flaws to help better tell their stories.
Some of my favorite shots in the movie were shot with this lens. I particularly like the look when panning/tracing side to side, which most obviously reveals the distorted character of the glass.
However, it’s clear that using these wide-angle lenses presented some production challenges. Keeping lights, crew, or other gear away from the camera is often a challenge. At this focal length, you can see almost everything.
58mm / 85mm Lomography Petzvals
While I love all the shot choices in the film, these two Petzval shots are by far my favorite.
Originally developed in the 1840s, the Petzval lens was one of the first lenses designed specifically for portrait photography. This is what they originally looked like –
In recent years, they have been reimagined lomo photography. It has been updated to include modern features such as bokeh control, dual aperture, coated glass and more.
exist poor thingthese updated Petzvals were relocated for cinema use by True Lens Services Limited in Leicester, UK, where they were used extensively in films, producing some of the most beautiful portrait shots I have seen in years. Maybe once.
Robbie Ryan describes these lenses as making you “feel like you’re in a vortex.” There is rotational intensity at the edges of the frame, but the dead center is in sharp focus.
Lenses are tested and fine-tuned to get the final result. They also shoot at maximum aperture to maximize the camera’s effect.
ARRI / Zeiss 16.5 – 110mm main zoom
poor thing Executing some gorgeous zoom shots, each one more polished than the last.
Zoom lenses used include Angénieux Optimo 24 – 290mm and Arri/Zeiss 16.5 – 110mm Master Zoom.
Both are incredible lenses in their own right. But Arri/Zeiss 16.5 – 110mm was used more extensively in the film and therefore was more important to the final effect.
It’s also a very interesting choice, especially compared to some of the other (more experimental) glasses out there.
The Arri/Zeiss zoom lens is a legendary industry standard lens. This lens has a T2.6 aperture, a wide focal range, almost no distortion or focus breathing, and is almost flawless.
When cross-edited with the heavily distorted 8mm Oppenheimer footage and many other shots, it creates such a unique dichotomy.
Filmmakers also utilize the entire zoom range for maximum effect. As a viewer, you can literally feel the camera move in and out of the scene. dart around the frame. Find focus and act like your character. It’s mesmerizing to watch.
Use every lens type for every scene
When making poor thingthe aim is to use one shot of each category in each scene:
- wide angle
- portrait
- skyrocketing
Accordingly ASC Articlesthe specific shots chosen from each category will vary depending on the scene. But there will always be reports from these very different vantage points. This will create the most dynamic edits while avoiding the pitfalls of traditional overlays.
Nor did the filmmakers base it on storyboards or even shot list. So this structure definitely helps create boundaries on set, streamlining production and freeing up creativity at the same time. and combine 1.66:1 aspect ratio selection, which all contributes to some of the most unique cinematography of the year.
While this specific approach may not be suitable for every film, I believe the basic concept is. It’s always important to understand your film’s color palette and create your own unique structure to achieve your vision.
Mix and match glass
Filmmakers are often afraid to mix and match glass. They felt that every shot from every angle needed to match perfectly, at least on a technical level.
For some pieces, this is the right approach. Of course, some films benefit from less stylized visuals, which in turn draw less attention to themselves.
That said, most movies could benefit from an openness to mixing and matching shots.
You don’t necessarily need to take it to the extreme poor thing. But you don’t have to avoid your favorite lens just because it has a different brand name.
Most Hollywood feature films are shot on a variety of carefully matched cameras, lenses, and formats.
Vintage lenses may be mixed with modern film glass to distinguish the past from the present. Just as film can be used for daytime shots, digital can be used for low-light or nighttime exterior shots.
The key is always to approach your process as an artist first, not as a technician. Think about what feels best, not what looks technically correct.
Once you have a strong vision for your aesthetic, you can choose the right tools to achieve it. You don’t have to worry if your selection is outside the normal range.
Let us all learn from it poor thing And embrace creative experimentation. It can only lead to great things!
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