Capturing Light - A Director of Photography's Podcast
Sep 24, 2026 · 55 min · 16 segments
## In this episode, we talk about ***Best of the Best*** - Tech Specs: ARRI Alexa 35; RED Komodo; MiniDV, HDV and iPhone 16 Pro; 24fps OpenGate ARRIRAW framed for 2:1 extraction Lena Khan’s…
Adam CarboniGuest
Les GaddisHost
Yeah, definitely so Before we get into post, is there during the production when you're actually on set? Well, before I get to that, lenses.
Yeah, so it's funny because we actually used a set of lenses that are not released yet.
I think they're supposed to be slated to release release in January of this year, or sorry, December of this year.
It's a custom set that Aerie has developed and they have a handful of sets now across the Aerie rental landscape.
But I went to Aerie and I said, you know, this is the kind of look I'm going for.
You know, I'm looking for something that has like a little bit of funk around the edges, but ultimately needs to be pretty clean because I knew that I was filming a movie with a lot of big group shots.
We had a dance team that was comprised of, you know, most days of around 12 people and then some days around, you know, the full sort of 20.
And and so I knew we'd have a lot of group shots where I needed the characters to to feel rendered properly and faces sort of edge to edge to feel nice.
So I wanted something that was going to have some interesting character, but ultimately was going to have good coverage.
And so Matt Colsey, one of Ari's lens technicians, he spoke with me and I said, Matt, I'm looking for this and this.
And I tested the Akira's and I really liked them and they had matching set that they could supply for us and ultimately just the way that they were rendering the skin tones and the way they handled the fall off was really nice and something I went to Matt and I said you know I'm curious because I have a lot of that I'm going to be dealing with in these dance sequences.
And so I'm kind of keen to have something with kind of nice warm flares, similar to like a koa, like a koa spherical, because I shoot with the koa cinepromenards quite a bit.
And he told me something really interesting, which is typically when a lens is coded to be cool, the flares are warmer.
And typically when a lens is coded to be warmer, those flares are going to be cooler.
Right.
I can't offer many more examples other than the fact that a cook Pancro is a very warm lens, but has a very colder flare.
Yeah, definitely so Before we get into post, is there during the production when you're actually on set? Well, before I get to that, lenses.
Yeah, so it's funny because we actually used a set of lenses that are not released yet.
I think they're supposed to be slated to release release in January of this year, or sorry, December of this year.
It's a custom set that Aerie has developed and they have a handful of sets now across the Aerie rental landscape.
But I went to Aerie and I said, you know, this is the kind of look I'm going for.
You know, I'm looking for something that has like a little bit of funk around the edges, but ultimately needs to be pretty clean because I knew that I was filming a movie with a lot of big group shots.
We had a dance team that was comprised of, you know, most days of around 12 people and then some days around, you know, the full sort of 20.
And and so I knew we'd have a lot of group shots where I needed the characters to to feel rendered properly and faces sort of edge to edge to feel nice.
So I wanted something that was going to have some interesting character, but ultimately was going to have good coverage.
And so Matt Colsey, one of Ari's lens technicians, he spoke with me and I said, Matt, I'm looking for this and this.
And I tested the Akira's and I really liked them and they had matching set that they could supply for us and ultimately just the way that they were rendering the skin tones and the way they handled the fall off was really nice and something I went to Matt and I said you know I'm curious because I have a lot of that I'm going to be dealing with in these dance sequences.
And so I'm kind of keen to have something with kind of nice warm flares, similar to like a koa, like a koa spherical, because I shoot with the koa cinepromenards quite a bit.
And he told me something really interesting, which is typically when a lens is coded to be cool, the flares are warmer.
And typically when a lens is coded to be warmer, those flares are going to be cooler.
Right.
I can't offer many more examples other than the fact that a cook Pancro is a very warm lens, but has a very colder flare.
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