NOVEMBER 18, 2020
Find out how Erik Messerschmidt came to choose our SUMMILUX-C lenses for MANK by reading the article in the first issue of Cinematography World. Here a little teaser:
“I also tested every spherical lens I could get my hands on, as we were looking for the highest-quality glass in terms of resolution that would allow me to shoot at T8 or T11. As it turns out many modern lenses fall apart past a T5.6. When you close them down, the line resolution drops dramatically, and diffraction can happen in the blue wavelength, which affects exteriors particularly. We were also looking for a clean and flat image, with good fall-off, that we could manipulate later in the DI to emulate and pay homage to optics of the 1940s, with things like film grain, gate weave, blur, bloom, barrel distortion and lens flares.
“I gradually whittled down my lens choice to Leitz Summilux primes as being the best-performing lenses for our purposes – very clear, consistent, rectilinear and with the best resolution at T8 and T11.
“Also, as Summilux lenses are uniform in size and light in weight, this made the camera package quite manoeuvrable and the lens changes fasts, which all translated to efficiency. We mainly used the 25mm, 35mm, 40mm, 50mm, 65mm and 75mm Summilux Primes and swapped them between our A and B-cameras".
Cover pictures by Miles Crist shot on Leica Q 2. Post picture by Nikolai Loveikis.