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Does anyone have any information on the range of focal lengths Kubrick used for A Clockwork Orange, Full Metal Jacket, The Shining, and Eyes Wide Shut? What sort of focal length did Kubrick use for close-ups?



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Most of your answers are in the films- perspective, DOF and so on give a clue. One sees in stills from 'Barry Lyndon' a very long lens on an Arri 2C in the battle scene- it's probably the 24-480 he had made. There's also the Zeiss 50mm/0.7 on a rebuilt Mitchell NC for the candlelit scenes and an adapter which gave an EFL of 36.5mm.


I think there's a piece by John Alcott on that site.

Edited by Mark Dunn
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Thanks for the info guys. I have always wondered just how wide Kubrick went in certain situations on different films. The 9.8mm in the record store is very interesting. I am guessing that similar tracking shots of Tom Cruise in Eyes Wide Shut are not quite that wide.

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