Reed Morano, ASC, Relies on ARRI/Zeiss Master Anamorphics

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How did you achieve the look and style of the film?

Reed Morano: I knew with the Alexa I could get the look I was after, which was to have the movie be as real as possible and be very naturalistically lit—not drawing attention to the lighting or the camera work. When I knew that I was going to be shooting with the Alexa, I wanted to take the camera to the next level.

You went with the ARRI/Zeiss Master Anamorphics?

The Master Anamorphics blew me away and created a very rich texture in combination with the Alexa. The anamorphic look just screams cinema—the flares, the bokeh, the aberrations of the lenses and all of those unpredictable qualities. In my opinion, they make everything just feel bigger.

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Olivia Wilde in a still from Meadowland.

I couldn’t have been more pleased with the qualities of the Master Anamorphics. These lenses are sharp and have beautiful anamorphic qualities, but they are just slightly less erratic and more controllable than your usual anamorphics. You can flare them when you want—and they are gorgeous flares, such as rainbow circles. There were also blue oval flares and the bokeh was just beautiful. They had such distinct qualities, but it wasn’t too much to a point where it could be distracting. They were just right.

Reed Morano, ASC, shot, directed and operated handheld on the independent drama Meadowland.



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