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huge bizzare lens on A Clockwork Orange

lens kubrick clockwork

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#1 panagiotis agapitou

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Posted 24 September 2018 - 07:38 AM

what lens is that ?? 

 

 

Clockwork_Orange_15.jpg

 


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#2 David Mullen ASC

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Posted 24 September 2018 - 08:04 AM

It’s not the lens that is big, it’s the sound-dampening blimp housing around it (and the camera) because it is a wide-angle lens.
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#3 Mark Dunn

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Posted 24 September 2018 - 10:45 AM

It's one of these

http://owyheesound.c...120s-blimp.html

but with an extension for a w/a lens (Kinoptik 9.8?) instead of the square one on that site.

Kubrick loved his 2Cs so he decided not to chuck one out of the window for the Alex de Large POV shot. He used a Newman-Sinclair clockwork for that and just kept doing it until it stopped working.


Edited by Mark Dunn, 24 September 2018 - 10:49 AM.

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#4 Tyler Purcell

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Posted 24 September 2018 - 01:53 PM

On a side note... that pix has a lot of moving parts. Stanley is on a wheelchair being pushed along with the dolly. Very interesting to think about because normally wouldn't he just ride the dolly? huh.
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#5 Mark Dunn

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Posted 24 September 2018 - 01:58 PM

On a side note... that pix has a lot of moving parts. Stanley is on a wheelchair being pushed along with the dolly. Very interesting to think about because normally wouldn't he just ride the dolly? huh.

I don't know if that's a ride-on type dolly, but anyway, Kubrick devised the wheelchair dolly where I believe the camera was usually hand-held.

I think he just happens to be sitting in it in this photograph. Garrett Brown rode in it on The Shining https://www.tested.c...-and-steadicam/


Edited by Mark Dunn, 24 September 2018 - 02:01 PM.

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#6 David Mullen ASC

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Posted 24 September 2018 - 05:48 PM

Usually the operator would be better off riding on the dolly if they have to use wheels, especially in a low-angle position (it's hard to walk along the dolly as it moves but stooped low enough to operate geared head wheels when the camera is that low.). So working from the wheelchair was an interesting solution.  Many operators would switch to a fluid head in that situation if they had to walk with the dolly but the camera was mounted that low.  Remember that this is a reflex camera so the operator had to also keep their eye pressed against the viewfinder cup.  These days even if shooting film, an operator might switch to an onboard monitor from a tap if it was too difficult to keep their eyes aligned with the viewfinder while the camera moved and some complex operating was involved.


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#7 Tyler Purcell

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Posted 24 September 2018 - 07:58 PM

Yep, good point David. Now is the dolly an early panther? It appears to be a pedestal, but I don't recognize it at all.
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#8 Frank Wylie

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Posted 24 September 2018 - 07:59 PM

It's one of these

http://owyheesound.c...120s-blimp.html

but with an extension for a w/a lens (Kinoptik 9.8?) instead of the square one on that site.

Kubrick loved his 2Cs so he decided not to chuck one out of the window for the Alex de Large POV shot. He used a Newman-Sinclair clockwork for that and just kept doing it until it stopped working.

 

Dammit!  He could have busted an Eyemo instead of Newman-Sinclair! 


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#9 Frank Wylie

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Posted 24 September 2018 - 08:05 PM

Yep, good point David. Now is the dolly an early panther? It appears to be a pedestal, but I don't recognize it at all.

 

Appears to be an Elemack.


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#10 Dom Jaeger

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Posted 25 September 2018 - 02:03 AM

Dammit!  He could have busted an Eyemo instead of Newman-Sinclair!

Actually the camera survived, and even performed a flawless steady test afterwards. The sixth drop off the roof got the right POV by landing lens first, which was the end of the lens, but not the camera. Kubrick was impressed enough to declare the Newman Sinclair the most indestructible camera ever made.

http://www.visual-me...k/doc/0070.html
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#11 Brian Drysdale

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Posted 25 September 2018 - 03:09 AM

 

Appears to be an Elemack.

 

Yes, for more: http://www.elemack.com/


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#12 Robin R Probyn

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Posted 25 September 2018 - 06:12 AM

Yes elemack.. weighted 100 tons.. and had two small round seats..height adjusted by wobbly risers .. for op and focus puller.. very easy to fall off..


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#13 Brian Drysdale

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Posted 25 September 2018 - 09:16 AM

Some of the cameras weighted 50 tons.


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#14 dan kessler

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Posted 25 September 2018 - 10:04 PM

must've been murder for dolly grips


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#15 Robin R Probyn

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Posted 25 September 2018 - 10:05 PM

They would counter balance the weight with their wallets ..  and a rolled up copy of the Sun..


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#16 panagiotis agapitou

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Posted 12 October 2018 - 12:52 AM

Is this the ARRI 12mm 2.1 ?? (made by the zeiss standard prime 16mm

 

2012-02-08-kubricknewsweek.jpg

 

ubrick12.jpg
 
kubrickzoom12.png
 

 

 

 

 


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#17 Brian Drysdale

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Posted 12 October 2018 - 01:02 AM

I doubt it, since Clockwork Orange was made around 1970/71

 

The Kinoptic 9.8mm was one of his favoured lenses: https://kitsplit.com...ens-new-york-ny


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#18 Brian Drysdale

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Posted 12 October 2018 - 08:59 AM

Joe Dunton talks about the lenses that Kubrick used: https://indiefilmhus...kubrick-lenses/

 

The 18mm Cooke would seem a likely candidate for the above lens on the Arri IIc


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#19 panagiotis agapitou

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Posted 12 October 2018 - 05:04 PM

I think you are right .. it's more likely a cooke 18mm !!

But i have read that on Clockwork Orange used a lot of 12mm lens .. any thoughts about what kind of 12mm was that ??

Btw the ARRI 12MM i posted .. when was released ??

Thanks again !!
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#20 Brian Drysdale

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Posted 13 October 2018 - 03:05 AM

I'm unaware of a 12mm lenses for the Arri 35 IIC in that period (only ones for 16mm), The earlier Arri mounts would've limited the options, since the PL mount came out in 1980.


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