The ASC has introduced a chunk of cinematic historical past again to life with the disclosing of the ASC Todd-AO lenses, a meticulously restored set of classic primes initially designed for the revolutionary Todd-AO widescreen system of the Fifties. Rediscovered within the Society’s Hollywood clubhouse, the lenses have been reengineered for at this time’s large-format workflows whereas retaining the distinctive optical character of their period.
Unearthing these lenses shouldn’t be solely a celebration of the ASC’s legacy but in addition a bridge between filmmaking generations. Below the management of ASC member Shelly Johnson (who was ASC president earlier than Mandy Walker was elected president earlier this yr) and in collaboration with Zero Optik, the restoration ensures that the craftsmanship of mid-century cinema continues to encourage fashionable productions.
Designed for widescreen historical past, reimagined for at this time
The unique Todd-AO format, developed within the Fifties by producer Mike Todd and the American Optical Firm, was a breakthrough in widescreen filmmaking. Meant as a single-camera various to Cinerama, the format emphasised excessive decision and immersive visuals. The lenses created for it turned a part of this technological leap.
ASC Todd-AO lens. Photograph by Ryan Rosenblum. Picture Courtesy of Keslow Digicam, Inc.
Now, with the ASC Todd-AO lenses, that historical past has been revived. The refurbished set contains 9 prime lenses starting from 18mm to 135mm. Every lens options distinctive T-stop and close-focus capabilities, with highlights such because the ultra-wide 18mm T5.3 (shut focus: 1’1”) and the versatile 60mm T2.1 (shut focus: 1’7”).
To swimsuit up to date workflows, the lenses have been rehoused with uniform focus and iris gear placement, simplifying lens swaps on set. All however the 18mm share a 95mm entrance diameter, whereas the 18mm makes use of a 114mm entrance. Interchangeable mounts (PV, PL, and LPL) enable straightforward integration throughout fashionable digital camera techniques.
Basic optics with up to date nuance
Cinematographer Greig Fraser, ASC, ACS, was among the many first to check the refurbished set. He emphasised the lenses’ pure falloff and the best way they render pores and skin tones. “These lenses revealed themselves to be fairly stunning and delicate,” he famous. “We labored to create a component of decision and sharpness with out ever feeling ‘sharp,’ and have been in a position to attract out extra of a three-dimensional really feel.”
This steadiness of classic character and fashionable engineering is what units the gathering aside. In keeping with ASC President Mandy Walker, the undertaking underscores the Society’s twin mission of honoring its previous whereas advancing inventive potentialities. “By restoring the Todd-AO lenses, we’re doing greater than merely honoring cinematic historical past,” she defined. “We’re empowering filmmakers to discover new inventive frontiers with the soul of traditional optics.”
ASC Todd A-O lens. Photograph by Ryan Rosenblum. Picture Courtesy of Keslow Digicam, Inc.
Entry via rental homes
The ASC Todd-AO lenses will flow into on consignment via choose rental homes, starting with Keslow Digicam, the place they’re already accessible. The ASC hopes the set will encourage a brand new wave of filmmakers to experiment with optics that carry each historical past and persona.
Reintroducing these lenses highlights the ASC’s position not simply as an expert guild however as a custodian of cinematic instruments and traditions. By bringing the Todd-AO primes again to manufacturing life, the Society reminds us that filmmaking is as a lot about preserving artistry as it’s about innovation.
Would you convey a set of Fifties widescreen lenses onto your subsequent large-format shoot?
