Anamorphic Lens Masterclass: Peter James
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A two day advanced Cinematography workshop to unlock the secrets of Anamorphic lenses with AFI winner and ACS Hall of Fame inductee Peter James, ACS, ASC.
With the advent of the 4:3 Alexa, Anamorphic is being applied to digital cinematography all over the world.
How does this 60 year old system translate from film to digital and what are the effects and dramatic language of the Anamorphic lens?
When is it best used and which focal length suits which scenes?
Explore lighting, perspective and lens choice with Peter as he passes on his 40 years of industry experience on such films as Driving Miss Daisy, Black Robe, Alive, Paradise Road & Meet The Parents.
Participants will get the chance to shoot with the Alexa Plus 4:3 and a range of Anamorphic primes and zoom lenses in both interior and exterior locations.
Please note that this is not an introductory course and some shooting experience is required to successfully participate. Please call AFTRS Open on 1 300 065 281 or email firstname.lastname@example.org if you’re unsure or have any other questions.
'...it’s like Paradise Road (1997) which was an anamorphic film where I photographed the women who were prisoners of a war camp. I photographed them on 300 and 600mm lenses; but the Japanese soldiers who were guarding them, I photographed them on 40 and 50mm lenses, anamorphic. What happens is that the women are all packed together and gives them solidarity as a group; they become a mass and have the company of one another. But the soldiers are alone and the palm trees are all around them like prison bars so they’re like prisoners of the jungle. It turns the tables visually. If you do that throughout the whole movie it’s a subliminal feeling people get from the way you photographed it.' - Peter James
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