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Kim Janson wrote:I have not seen the latest Bond yet, but was wondering a different lens imperfection on Hercule Poirot, glowing erect like some oil on the lens and that was quite systematic on many of them so was wondering if they did that on purpose, or it just took long to notice a lens that needs cleaning.
This would have been difficult to fix on editing phase, but CA should be pretty easy to fix?
That’s most likely the effect of a lenslet or net-type diffusion filter.
I personally find it an appealing style; something to be induced as opposed to be jettisoned.
They used to use it quite widely and in heavy densities in film and television in the past, and it’s unlikely they’d be looking to fix it Poirot.
Janusz Kamiński’s use of Classic Softs and net diffusion is legendary, and I find myself often attempting to replicate it, along with his lighting style and camera moves.
By extension, I’m not sure whether the CAs and other lens imperfections get as much of significance in major films, as they do in other cinematography circles, to be focused on and gotten rid of.
From what I’ve read, Cary Joji Fukunaga is a huge admirer of all things film, right from the colors of reversal film to IMAX. So I have an inkling that he and Linus Sandgren were purposeful in their use of every little lens effect you may see onscreen in the new Bond film.