Robert Elswit

[Sean Azze]

I'm a big Paul Thomas Anderson fan. Anderson's films seem to always have a frequently moving camera.

 

I wanted to know if anyone knows anything about Robert Elswit's work, particularly how he lights all these long tracking shots that are prominent in PTA's films. Also, if you have any links to articles or interviews with Elswit, that would be cool.

 

Thanks

[Thomas Cousin]

hello !

you can find at http://www.cameraguild.com/, in the magazine section in the year 2000, a link to read online articles about the cinematography on MAGNOLIA.

i can't remember if there is an article about PUNCH DRUNK LOVE in american cinematographer or elsewhere, but i remember reading interestings things about the beautiful use of anamorphic lens flares in this film. if i remember where, i will let you know.

anyone maybe ?

 

bye

 

thomas

[Adam Frisch FSF]

An article on the shooting of PDL was featured in Fuji's film magazine of that time. Don't know if it can be found online. I do recall it was shot on fairly low speed stock, even the night scenes. Think he didn't go much higher than the 250T, if I recall correctly. I remember the few night scenes to be unusually crisp.

[David Mullen ASC]

It was all shot on Fuji F-125T as far as I remember. I don't know if the 85B filter was used for day exterior work.

[Guest fstop]

No filters. The director said no.

 

FUJI ARTICLE HERE

 

Speaking of Elswit, can anyone confirm that he shot Janet Jackson's THE PLEASURE PRINCIPLE promo from 1986? I read his credit somewhere in an article about MTV about Janet. Certainly shows his versatility if it was him!

Edited July 10, 2005 by fstop

[Max Jacoby]

The article contains a familiar confusion about Panavision's anamorphic lenses. The Primos go from 35mm to 100mm, so the 180mm is almost certainly an E-Series, since it is the nicest close-up lens that Panavision rents out. Absolutely lovely lens. Also I seriously doubt that they used the Primos to do some of those steadicam shots, C- or E-Series again seem much more likely.

[David Mullen ASC]

Yes, I agree -- although I got to talk to Alfonse Beato about "Dark Water" and he mentioned that he shot all of it with Primo Anamorphic primes at T/2.8 (except for anything over 100mm, which as you mentioned, you use the 135mm and 180mm E-Series usually) and found a Steadicam operator willing to use one on his rig.

[Max Jacoby]

I work with one steadicam operator who does it as well, but the 50mm Primo is over 7 kilos, so the rig can get quite frontheavy. He handled the Hawks V-Series on my last shoot, and they are not exactly lightweights either.