Michael B. Chait, Director:
“I'm thrilled that the vast majority of ‘WOLF HOUND’ was filmed with P+S TECHNIK‘s Evolution 2X lenses; they helped us bring even more passion, soul and artistry to the screen and allowed for my first feature film as a director to be shot in true, classic anamorphic widescreen, which is a dream come true!”
“WOLF HOUND” is a World War II Action Movie. We wanted to do justice and honor the real-life heroes and events of WWII by doing everything possible in-camera, for real, including real WWII fighter planes and bombers flying and dogfighting in the sky. We also set out to create images that are larger than life, visually rich, romanticized, and very emotive, both to treat the content in a regal fashion on the largest canvas possible, and to take the audience on the journey with the characters through dramatic visual storytelling that hopefully makes you feel like you're there and experiencing everything with them.
P+S TECHNIK’s Evolution 2X anamorphic lenses were the perfect choice to achieve these results. Tyler Roth, my longtime Colorist at Company 3 based out of their Los Angeles office, originally suggested them as he felt they were the best of both worlds: classical anamorphic lenses with the cylindrical glass element up front, which he described as being very reactive and organic to light, producing prominent lens flares and artifacts with tons of character, but with a modern, high-tech touch that allowed for sharp images, higher contrast/detail, more controlled barrel distortion and breathing than vintage lenses, yet with the beautiful soft sharpness of anamorphic that made for stunning close-ups of our actors.
Westley Gathright, our Cinematographer and my longtime friend and main DP since film school at Columbia College Chicago, shares my love for classic CinemaScope style anamorphic lenses and the additional magic they bring to motion pictures.
We also had a variety of logistical problems to solve: shooting entirely on location included the tight confines of real B-17 bomber interiors. We considered shooting with spherical prime lenses whenever inside the B-17, but the Evolution 2X's small form factor and improved close focus allowed us to shoot almost entirely anamorphic inside the aircraft, both on the ground and in the air.
I had used other vintage anamorphic lenses in the past, which had the mumping problem on faces and objects at close focus, causing noticeable, unflattering horizontal stretching. The Evolution 2X anamorphic lenses thankfully fixed that problem, allowing us to frame the shots we wanted instead of fighting against limitations and compromising images due to lens design. We also wanted to move the cameras to get dynamic, high energy, and dramatic shots; gimbals, Steadicam, dollies, and handheld were all a necessary part of our visual style for the film.
The Evolution 2X's compact, modern and lightweight design allowed us to capture incredible shots in each filming location that would not have been possible on our tighter shooting schedule with larger, heavier camera rigs and less versatile lenses!