Authentic images were also the order of the day for star director Stanley Kubrick when shooting his masterpiece Barry Lyndon, released in 1975. Kubrick’s film version of William M. Thackeray’s novel aimed to give the audience a living experience of the atmosphere of Baroque painting and music. For Kubrick, this meant above all replicating the light conditions of the time, long before the invention of the incandescent bulb. After being told by all the camera specialists that this was impossible, Kubrick heard that ZEISS had an extremely fast lens, the Planar f0,7/50mm with a maximum aperture of f/0.7, which had been developed for NASA for taking shots on the moon. Using this lens, Kubrick proceeded to shoot all the interior scenes for Barry Lyndon by candlelight – a genuine sensation in 1975. And as his camera, Kubrick used an Arriflex 35 BL, a further enhanced version of the legendary camera dating from 1937.
More than 40 Hollywood films that have been shot with ARRI/ZEISS lenses have won Oscars. But it is not only their creative power that has been awarded. The lenses originating from the partnership between ARRI and ZEISS have also won three “technical Oscars”. Recently, the designers of the Master Prime range of lenses picked up the 2012 Scientific and Engineering Award (Academy Plaque®) of the Academy of Motion Picture Arts and Sciences®. This is the industry’s highest distinction for filming technology.
Today, as 75 years ago, ARRI and ZEISS continue to set new standards in the film industry in terms of performance excellence and innovative technology. This can be attributed to their determination, passion and mutual trust, which have proved to be the key success factors in their long, innovative and extremely fruitful partnership. For locations and more information, visit: www.arri.com