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Kubrick Lenses


Ignacio Aguilar
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I'm interested on what lenses did Kubrick use on his last three films.

 

I guess he used the Zeiss Super Speeds (f/1.4), but I don't know what zooms were used on that films (Angenieux?).

 

From the Oct. 1999 American Cinematographer:

 

"Kubrick framed 'Eyes Wide Shut' in the standard 1:85 format, primarily using a set of Zeiss Superspeed T 1.3 spherical prime leses, but occasionally opting to employ Arri's T 2.1 variable prime lenses or a zoom.... most of 'Eyes" was shot with the Zeiss 18mm lens, and the filmmakers rarely went longer than 35mm."

 

Sorry, I don't have the AC covering "Full Metal Jacket" handy; it's in storage. Maybe someone else can chime in.

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From the Oct. 1999 American Cinematographer:

 

"Kubrick framed 'Eyes Wide Shut'  in the standard 1:85 format, primarily using a set of Zeiss Superspeed T 1.3 spherical prime leses, but occasionally opting to employ Arri's T 2.1 variable prime lenses or a zoom.... most of 'Eyes" was shot with the Zeiss 18mm lens, and the filmmakers rarely went longer than 35mm."

 

Sorry, I don't have the AC covering "Full Metal Jacket" handy; it's in storage.  Maybe someone else can chime in.

 

eyes wide shut was not shot in 1:185 but 1:137, i could be wrong but i think he also dug out some of the modified F0.7 lenses which were originally used on Barry Lyndon.

 

Keith

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eyes wide shut was not shot in 1:185 but 1:137, i could be wrong but i think he also dug out some of the modified F0.7 lenses which were originally used on Barry Lyndon.

 

Keith

 

Now we're going to get into that "shot in" versus "composed in" argument...

 

Kubrick's last three movies were shot exposing either 1.33 Full Aperture or 1.37 Academy Aperture, but they are clearly framed for cropping to widescreen (reports vary between 1.66 and 1.85. I think Doug Milsome told me that "Full Metal Jacket" was framed for cropping to 1.66 but the assistant editor on "The Shining" has said 1.85. Kubrick himself usually requested that these movies be projected with a 1.66 hard matte even though he wanted them unmatted for video.)

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On EYES WIDE SHUT, one of Kubrick's older zoom lenses was used for some shots.

According to Joe Dunton, ASC, Cooke Varotal 20-100mm T3 was used to shoot Nicole Kidman and Sky DuMont dancing in EYES WIDE SHUT.

 

This lens and most of Kubrick's other favourite and special lenses are presently on display at the S.K. exhibition at Berlin.

 

Stanley Kubrick exhibition

 

So if you happen to travel through Europe, have a stop at Berlin to look through the Zeiss Planar f0.7 lens yourself... :) But I don't believe that the two f0.7 lenses were used for EYES WIDE SHUT because they can only be mounted on Kubrick's Mitchell BNC modified by Cinema Products, and IIRC, EWS was shot on 500ASA stock pushed to 1000 which should be enough with T1.4 Zeiss high speed lenses.

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  • 16 years later...

Very old topic but let's update it 

The last movie he used Angenieux zoom lenses was Barry Lyndon .. after that only the Cooke 20-100mm (there is a possibility that may he used them again on Full metal jacket) 

 

THE SHINING 

-Kinoptic tegea 9.8mm 

-Angenieux 14.5mm

-18mm Cook panchro (zeiss super speeds 18mm was not released yet) 

-25-35-50-85mm Zeiss Super Speeds T1.4 (b speeds) 

-Zeiss Standard Speeds 

-Cooke varotal 20-100mm T3.1

 

FULL METAL JACKET

-Angenieux 14.5mm 

- Zeiss super speeds T1.4 (b speeds)

- Zeiss standard speeds 

- Cooke varotal 20-100mm T3.1

- Lots of Nikon's stills converted 

- tilts & shifts 

 

EYES WIDE SHUT :

- Zeiss super speeds mkiii T1.3 

- Zeiss Variable Primes T2.1

- Cooke varotal 20-100mm T3.1

Edited by panagiotis agapitou
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