Archive for the ‘film’ Tag

More Ammo In My Favor For The Stupid Heads; An Italian Article Translation “Homage to an immortal KUBRICK AND THE LEGENDARY PLANAR 50mm f / 0.7”   Leave a comment

Hey Everybody, stanley-kubrick-1

I’ve got a bit of an addendum  to the last article about the lens used in Stanley Kubrick’s stunning period piece Barry Lyndon. Especially for all my camera department super tech geeks out there, Here’s a translation of an Italian article floating around the net about the history of the Planar F/0.7 50mm lens used in the 1975 film.

Very tech, very cool.


Homage to an immortal KUBRICK AND THE LEGENDARY PLANAR 50mm f / 0.7

animazione_barry_lyndontwo frames of Barry Lyndon shot with the Zeiss Planar 50mm f / 0,7 former NASA full aperture f / 0.7.

Note the wonderful bo-keh, the detachment plastic and the extreme focus of this perspective, born to shooting
35mm film infinity of space and used here about 6-7 feet from the subject, out of any scheme
logic of the project.


UPGRADING 21/11/2007


The mystique of the Planar 0,7 / 50, for the NASA militance shining and the masterpiece of Stanley Kubrick,
is much more intriguing considering the ancetres of the optical lens: when it was calculated, in the early ’60s, it was not
drawed from the white paper but dusting off the wartime projects of superfast IR-Objektive used in cathode
nacht-wandler for the Nazi’s weapons, in the Following upgrading you’ll find the drawing of the unprecedented
precursor of this lens and of other similar wartime Zeiss lenses, unknown untill now, and for the first time an high
resolution drawing of the Planar 50mm f / 0,7 with the Kollmorgen converter used in Barry Lyndon, with all quotes;
last but not least, I added a series of snaps form Barry Lyndon’s scenes where this lens was on strike.

The Zeiss Planar 50mm f / 0.7 lens is a very fabled, which had arisen as a dowry by an active life worthy of
a novel, passing from the hands of NASA (he was born for unspecified shooting in critical light conditions
in spaceflight preparation all’allunaggio human) to those of the master filmmaker Stanley Kubrick, who adapted
laboriously this very special lens of a camera taken one of the higher flights of his career, signing
scenes by candlelight in the interiors of “Barry Lyndon”.

If all this were not enough to feed the aura of legend around this objective, equally exceptional and disturbing
is the origin of its optical design techniques, in fact, when the project of Planar 50mm f / 0.7 was started at the beginning of the 60s,
designers did not start from a blank sheet, but were inspired directly to documents relating to objectives superbright
intended for night vision with CRT, made ​​in the time of war for various weapon systems of the Nazi army, information
Technical saved from the chaos and Soviet hands thanks to the men of Operation Paperclip, which recovered the precious
patterns and put them at the disposal of the newly formed Western Zeiss, who by then was re-founding (first in Coburg and then
to Oberkochen), the novel contribution that follows compares the pattern of the Planar 50mm f / 0.7 (deliberate production
in 1966) with that of a UR-Objektive 70mm f / 1,0 realized in 1941 by Zeiss Jena for a vision device
infrared night

02the famous Planar 50mm f / 0,7 used by NASA and by Stanley Kubrick actually comes from
projects objectives superbright RH (Ultrarotstrahlung = infrared) made in the time of war
and constituted the primary objective of systems for infrared night vision (wandler)
applied in various weapon systems Nazis; diagram on the left refers to a 70mm f / 1,0 1941
and you can see how the Planar 50mm f / 0,7 is based on similar concepts: a group Gauss front
with two doublets glued and a rear group with the function of the field lens similar to
Smyth linse made famous in 1874 by the optician-Piazzi Smyth for the Petzval-type lens, in
both objectives the rear lens is almost in contact with the sensitive element (in Planar,
in particular, the space back focal was reduced to about 4mm), and the particular shape of the last
element of the 50mm leaves the door open to the hypothesis that this was originally intended
for use on cathode ray tubes in cascade, maybe used as amplifiers of the existing light, without
projectors IR (unusable space to similar distances)

03among the 42 well-Zeiss UR wartime intended for viewers who are IR
managed to take a census (including variants), these three models are the most similar
Optically the future Planar 50mm f / 0.7 designed over 20 years later: a DNA
really unexpected and disturbing …

as already seen in Leitz, Zeiss also home to the superbright viewers military
Infrared wartime derive from objectives achieved in mid-30s
and intended for use in radiology, at the instigation of the national documentation
on thoracic pathologies of the German population defined Programm offenbar;
this scheme is referred to a roentgenobjektiv of brightness with Zeiss f / 0.85, which
in turn already contains in germ all the features of Planar 50mm f / 0.7 final
a minimum of space back focal range (in this case, this objective working
directly in contact with the film and the last lens with a flat surface allowed
perfect register of the focal plane and scraping the emulsion)


The Planar 50mm f / 0,7 was calculated by Erhard Glatzel and his project went through
four prototypes intermediate before reaching the final configuration; Glatzel left
by a Gauss 50mm f / 1,0 (for 30 ° on the film format) manually calculated,
a double Gauss lens 10 to better distribute the forces on different elements and a lens
field almost at the focal plane, and this initial model was the subject of complex calculations,
operated both manually and automatically using an IBM 7090 computer, a tool
that in 1960 it cost 2.9 million U.S. dollars, here is the optical schemes of all versions,
from preliminary prototype final objective.

30The particular, the second lens manually split into a doublet collato passing
from the first to the second prototype, constituted the negative contribution to the sum of Seidel I,
but subsequent steps in computerized automatic distributed this contribution
uniformly dispersed in the two surfaces at the sides of the diaphragm, thus making
almost unnecessary complication in the front, the three front lenses present
in the third prototype were therefore simplified manually in a single lens, passing
then for a finishing touch to your computer to permanently optimize the scheme, the same
Glatzel pointed out the similarities with the aforementioned Roentgenobjektiv Carl Zeiss Jena f / 0,85,
arguing, however, that the transition to f / 0.7 represents a significant step forward.

 31The unpublished works of the MTF Zeiss Planar 50mm f / 0.7, measured at f / 0.7 on spatial frequencies
from 0 to 20 cycles / mm on a 10 ° on semidiagonale (half of the field, with guidance
sagittal and tangential) and at 14 ° on semidiagonale (edges of the format, always with
sagittal and tangential orientation), and of course these values ​​are modest but
perfectly justified by the opening extreme and seniority of the project.

32Erhard Glatzel, the father of Planar 50mm f / 0.7

(Picture: courtesy Larry Gubas)

An impressive overview of the IBM 7090, introduced in late
50s by Glatzel and used in optical computing this objective: as mentioned,
this monster cost then 2.9 million dollars or, if you prefer, 63,500 Dollars
monthly rental …


The copy of Planar 50mm f / 0,7 corresponding to the specifications of origin (no device
focus, Electronic Shutter Compur # 3) from the collection of the deceased and
the late Charles Barringer, a leading expert and collector former President of the Zeiss Zeiss

(Picture: Westlicht Photographica Auction – Vienna)

A copy of Planar 50mm f / 0,7 photographed at Oberkochen the dimensioned drawings in the original;
This specimen has a flange bayonet and a helical focusing
calibrated in feet.


The detail shows the scale of focus finely graduated (optics goes focheggiata to estimate
on metric scale) and the adjustable aperture from f / 0.7 to f / 8.


UPGRADING END 20/04/2011


The optical principle on which is based the calculation of Planar 50mm f / 0,7 and exceptional
brightness did not write anything new but was based on the preliminary draft made
in 1928 by Benjamin and Ellan Luboshez in 1937 by Maximilian Herzberger for Kodak;
the original design of Luboshez could be defined roughly a sort of “teleconverter
countdown “: in fact, it is a rear light unit (added in the calculation phase
the primary objective or objectives already set as accessory products) that intercepts
the beam back and it does converge on an image size less than the previous year by
Because the entrance pupil is not altered, the beam is as “concentrated”
(Imagine the classic trick of magnifying glass that focuses the sun’s rays
a bright point), and maintaining pupil aperture angle and field of view
unchanged on a smaller size we have a reduction of the focal length and a change
also for the gradient that defines the maximum brightness, which instead increases behold the
schemes elaborated in the draft Luboshez.

I highlighted in cyan and red primary objective the rear converging group:
maintaining the same entrance pupil (and therefore the same luminous flux and an equal angle of field)
rear projection is “focused” on a size smaller than the original, thus obtaining
a reduction in the effective focal length (same angle of view of the lower diagonal) and a
increase of the maximum brightness, since the luminous flux is “concentrated” on a
bottom surface; Luboshez in the draft was expected to be a simplified system and economic
consists of a single converging meniscus, is a most desirable option to four lenses, and finally a
“Universal” version designed for coupling with various targets already in production, and the destination
original of this project was the reproduction by fluoroscopy X-ray film, a field where
the weak fluorescence of the screen requires high brightness, while the chromatic aberration is not
been considered, since the fluorescence excited by X-rays is substantially monochromatic

A further evolutionary step in this area we owe it to calculations made in 1937 by Maximilian Herzberger
to the Eastman Kodak Company; Herzberger shooting the project and I Luboshez chamfer limits, evolving
the converging rear group in a model made even with the adoption of fluor krown acid glass to
low dispersion, the “defects” of the project consisted in the absence of Luboshez acromatizzazione in
presence of a strong curvature of field (Petzval sum due to the high intrinsic) and in an angle of
useful field rather narrow, the project evolved Herzberger was born with the aim of reducing the amount
Petzval and to obtain a sufficiently wide angle of field with a reduction of astigmatism without
to take over the coma, in turn reducing the coma and spherical aberration without penalizing the curvature of
field, the adoption of two glasses contained in dispersal also allowed a color correction exploitable
with the entire visible spectrum, and this project can be considered the forerunner of the concept at the basis of many
super-bright time of war and of the same Planar 50mm f70, 7; starting with a primary objective to
100mm f / 2,0 (conventional measures of reference), adding the converging group the focal effettica
was reduced to 40.65 mm, with a proportional increase in the maximum brightness of f / 2,0 to f/0.813, of course
on a smaller format.

The draft Herzberger of 1937 combined with the pattern of Planar 50mm f / 0.7
reveals many similarities, including the need for a space back focal really small;
as said, the last lens of the Planar is forged in the manner of the field lens of Piazzi-Smyth,
extensively used on superbright Germans of the last years of the war that
were calculated for coupling a cathode ray tube (for night vision goggles to
infrared), a lens which modified the field curvature of the conjugated back
and adapted to the curvature of the tube: the very limited space back focal
and the presence of this lens I suggests that even the Planar 50mm f / 0.7 may
be designed for NASA in view of a similar use, exploiting a
group in cascade with cathode-ray tube for shooting infrared or system
image intensifier, but this would not explain the presence of the burly
central shutter only necessary for photographic needs …

This diagram shows the operation of a classic rear teleconverter (multipliers
Focal commonly used by photographers) and group converged Luboshez and Herzberger,
then exploited also in Planar 50mm f / 0.7: while the multiplier diverges the beam projection,
distributing the brightness over a larger area than the original (but surpluses are not
exploited) and reducing the relative brightness of the system, the converging group acts in an opposite manner,
centralizing the luminous flux guaranteed by the entrance pupil of an area that is smaller than,
thus concentrating the beam and increasing the relative brightness; since the same angle of
field is guaranteed on a smaller paper size, also the focal length will be reduced by the same step;
of course to keep the original format will be necessary to prepare a primary objective with diameters
and redundant coverage

as regards the logic of the original NASA contract, it must be considered that it was not
a leap of faith: April 1, 1960 was already gone into orbit satellite Tiros I with a camera system
television cameras and infrared for meteorological use, and the need for very bright optics had
manifested when President John F. Kennedy proclaimed the need to accelerate the development of
space missions and a willingness to put a man on the moon before the decade of the 60s, with the budget tripled,
NASA He increased efforts related to the lunar missions and was planned to launch five shuttles Ranger
be put into lunar orbit to perform a photographic mapping range, including the
famous “dark side” always hidden and dimly lit, the first module Ranger was launched January 23, 1961
but only the Ranger IV (launched April 23, 1962) reached the lunar orbit without drawbacks, and these
modules boasted one of the onboard equipment SuperBright a goal to use photography, a
Gauss f / 1,0 designed in March 1953 by Pierre Angenieux in person, probably intended to conditions
critical lighting or the dark side of the satellite …. The Ranger IV impacted on the “dark side” and Angenieux
f / 1,0 rests in those silences still unexplored.

a summary of the original design conceived by Pierre Angenieux in person: it is
a lens f / 1,0 based on a classic Gauss, which also does not use any
floating most advanced available at the time

After this experience in mapping the dark areas of the Moon performed with
the Angenieux f / 1.0, it is possible that NASA engineers have found this
brightness still insufficient, and in anticipation of the famous Apollo project (formerly
presented in July 1960) have commissioned Zeiss optics yet
brighter, that is, the Planar 50mm f / 0,7.

UPGRADING END 28/12/2007


E ‘known to very few insiders that the Zeiss, after the realization of Planar
50mm f / 0.7, put his hand to his project, evolving into a versuch (prototype) that
9 used lenses instead of 8, a 50mm whose brightness was pushed even to
threshold f / 0.63, as confirmed by the late Walter pesonalmente Woeltche, the
substitute for Erhard Glatzel, this amazing versuch Planar 50mm f / 0,63 was not
ever produced and to this day he was completely ignorant of the optical structure, the pattern
that follows illustrates the section of the Planar 50mm f / 0.7 and – for the first time – even that
of its potential successor, the Planar 50mm f / 0,63.

The optical scheme of the prototype Planar 50mm f / 0,63 differs from that
the Planar 50mm f / 0,7 used by NASA and by Kubrick for adding
a meniscus earlier collective and the air spacing of the first doublet
glued, changes that do not have distorted the overall shape of the lens.

UPGRADING END 19/03/2010

a rare official image of the Planar 50mm f / 0,7 in the original configuration, scheduled for
NASA, the goal had a big central shutter Compur Electronic # 3 with times
1 “- 1/200” which was also the diaphragm and weighed 1.85 kg, and for the adaptation of the camera
Kubrick (an old Mitchell reflex, as required by the last lens almost leaning against the
film) the shutter was eliminated because of its bulk and replaced by a spacer of equal
draw, the goal appears to have been produced in 10 copies, of which 6 are provided to NASA, 1
remained at Zeiss and 3 then purchased by Kubrick (one of which is used as 50mm, another modified
with the adoption of an additional 36,5 mm and another – never used in the film – shortened to 24mm with
add a different bill), but in the catalog of manufacture of the Zeiss Oberkochen
is the production of a single copy, in 1966

the optical design of the base of the Planar 50mm f / 0,7 prefixed with the Kollmorgen used on unit
to change the focal length of the lens and convert to 36.5 mm f / 0.7 (as required by the master, who was
the focal length of 50mm a bit ‘tight 18x24mm for certain views on the format of the whole), whereas at the time
, there was no anti-glare multiple believe that the actual T of the complex by 36.5 mm was lower than the F / 0.7
said. The Extra Dimension 150 that reduced the focal length up to 24mm f / 0.7 was not used by Kubrick
due to an excessive distortion detected in the preliminary tests

together with an outline of the general data and the optical group overall was definitely
cumbersome, with a length of almost 40cm and a diameter of the front lens of more than 16cm
back focal free space is exactly 5.27 mm

After these documents unpublished let’s see what he was able to produce the great Kubrick
using this objective, so perilously adapted, during the famous shooting to light of
candle of the movie “Barry Lyndon” and for this purpose I made the snapshots taken from
the highlights of the film in which the Planar 50mm f / 0.7 was used (with inverted push in ISO 100 +1
ISO 200), either alone or with additional Kollmorgen and resulting focal 36.5 mm.


note chromatic aberration on candles

highlight the unique detachment plastic

PLANAR 50mm f / 0.7 + ADDITIONAL KOLLMORGEN (36.5 mm f / 0.7)

Note the increased softness in the rendering at full aperture with the additional
not foreseen by the original project Zeiss

Note the cometary shape assumed by the flames of the candles out of focus behind O’Neal
compared to those in focus on the table

A truly fascinating and incredible history, an intrigue, a tumult of current and emotions
that the Nazi secret weapons goes to the space and a masterpiece of cinema: everything
This is embodied by Planar f / 0.7, which call myth is frankly an understatement.



Till Next Time. Stay Tuned


images-1 tumblr_m8vbj64DKp1rs1ef6o1_500


Barry Lyndon’s Two Super Lenses Explained And The Familiar Ballad Of “I’m Right, Your Wrong Stupid Head “   1 comment

Hey Everybody,

Stanley Kubrick Barry Lyndon

Being someone who has been ultra fascinated with the process of film making since early childhood and involved with the entertainment industry for work for 19 years now in many different positions, there has always been one figure in particular that has had me coming back for more again and again re watching his films; Stanley Kubrick really is a master onto his own. Technically he did things no other film maker could pull off today, even with newer technology and changes to the process; He achieved shots which are literally impossible to recreate with today’s cameras and lenses . Of course for the people in the know, I am referring in particular to Barry Lyndon and the unbelievable candle lit shots he created using his unique brand of cinematic alchemy.tumblr_m7dz5kQSq21ry14qgo1_500

Often during set work there is a lot of discussion and genuine love amongst crew members for certain films and there creators that bring us together and divides us. Every once in a while the conversation move into the territory of disagreements much like two young boys talking about which action figure is better. The major difference being the technical numbers, understanding of the equipment and the latitude of the lenses and lighting to give the film maker the achieved look they desire. Since the switch over to digital from actual film the major thing I’ve noticed is the lack of that knowledge more that not in the younger generation. Very few younger directors even understand that technical side anymore and more disturbing it seems like a lot of them don’t even care to. I’ve even met a few young directors of photography ( DP’s) seemingly that have stopped learning about the extremes of what can be achieved through lighting and lens in camera as apposed to just getting an image and playing with it more in post production on the computer. To me it all comes down to understanding film history, whether a director, DP, actor or just a lover of film, understanding history equals understanding the process to the fullest possible extremes and possibilities of achieving the most special cinematic magic.  barry-lyndon-1975-tou-01-g_528x297

I recently got into a discussion with a uncharacteristically cool creative ad agency guy from New York about Kubrick and all his films. We spent a long time in pre production and in between shots on set discussing the Shining and 2001, but eventually we got to Barry Lyndon stuff which I still think is Kubrick’s most amazing film technically and it tends to get better for me the more I learn about the latitude of lenses and old film cameras. After a few shoot days I eventually realized I was having a third party discussion with the DP though one of the ad guys colleagues that was often listening in and offering some comments here and there. Apparently I didn’t know what I was talking about according to this DP, who wouldn’t actually come over and have the discussion himself with me, which I found a bit odd. The thing is, if this guy had done 2 minutes of internet research he would realize that I was absolutely right on. I’m obsessive about learning how shots in my favorite film are done, especially Kubrick stuff. Anyone on set in Vancouver that has started film discussions with me can attest to that; Out of pure obsessive interest I’ve done years of research on Kubrick alone. vlcsnap-2010-12-11-14h07m17s94

A lot of the Barry Lyndon conversation had to do with the speed of the lens, where he acquired it and the tech specs on the ever so special converted Mitchell BNC rear process camera that Kubrick used for the candle lit scenes. Really the basics you need to know is the 50 mm F/0.7 lens (a 100% faster than any other film lens)  which reportedly cost a million dollars, was one of ten from NASA built by Zeiss for ultra low level light satellite photography . This lens has never been available to the film industry for use, which I know first hand because I went and talked for awhile to the head rental guy for the last 15+ years at Clairmont Camera in North Vancouver. (Thanks to Andrew for putting up with my constant questions over the years ). One must ask yourself, how did Kubrick even know the lens ever existed if it’s not on any rental manifest available in the world, The fastest lens available today is an F/1.3 .

large_barry_lyndon_blu-ray_8Obviously with the constant improvement of digital imaging chips, cameras and computers more and more is being done in post production faster and cheaper. A sort of “new speak” is being developed constantly that is taking the process away from classic technique, but I still find myself not enjoying the look of digitally shot movies as much as the classic film stuff.  Especially someones films like Kubrick with brilliant technique and execution are a treat for me to re watch on Blu-Ray at home.


A bit of schooling on the Barry Lyndon lens and camera subject below for those that are interested.


Two Special Lenses for “Barry Lyndon” by Ed DiGiulio (President, Cinema Products Corp.)

From: American Cinematographer

How the stringent demands of a purist-perfectionist film-maker led to the development of two valuable new cinematographic tools.

My first contact with Stanley Kubrick was when he was referred to me by our mutual friend, Haskell Wexier, ASC, during Kubrick’s preparation for “A CLOCKWORK ORANGE”. Haskell indicated to him that I and my company were very responsive to the demanding needs of professional filmmakers, especially when it came to coming up with unique solutions to difficult probems.

For “CLOCKWORK” we purchased a standard Mitchell BNC for Kubrick and overhauled it, but did not reflex it or modify it in any special way. Kubrick’s attitude has always been that he would rather work with a non-reflexed BNC and thereby gain tremendous flexibility and latitude in adaptation of special lenses to the camera – as was subsequently the case on “BARRY LYNDON”. For “CLOCKWORK” w e also supplied the major accessory items for which we are well known, such as the “Joy Stick” zoom control, the BNC crystal motor and the Arri crystal motor.

50mm 0.7 Zeis lens  1 2 3(Top) the Zeiss 50mm, f/0.7 lens, shown in special focusing-mount (and with adjustable shutter blade removed). (Center) in front, the specially modified Zeiss 50mm, f/0.7 lens. Behind it, the lens before modification. (Bottom) Zeiss 50mm f/0.7 lens with Kollmorgen adaptor, creating an effective focal length of 36.5mm.

2 5 6(Top) Zeiss f/0.7 lens in special focusing mount. (Center) Lens with Kollmorgen adaptor – 36.5mm focal length. (Bottom) The Cine-Pro T/9 24-480mm zoom lens, shown with J-4 zoom control.

At the very early stages of his preparation for “BARRY LYNDON”, Kubrick scoured the world looking for exotic, ultra-fast lenses, because he knew he would be shooting extremely low light level scenes. It was his objective, incredible as it seemed at the time, to photograph candle-lit scenes in old English castles by only the light of the candles themselves! A former still photographer for Look magazine, Kubrick has become extremely knowledgeable with regard to lenses and, in fact, has taught himself every phase of the technical application of his filming equipment. He called one day to ask me if I thought I could fit a Zeiss lens he had procured, which had a focal length of 50mm and a maximum aperture of f/O.7. He sent me the dimensional specifications, and I reported that it was impossible to fit the lens to his BNC because of its large diameter and also because the rear element came within 4mm of the film plane. Stanley, being the meticulous craftsman that he is, would not take ‘No” for an answer and persisted until I reluctantly agreed to take a hard look at the problem.

When the lens arrived, we could see it was designed as a still camera lens, with a Compur shutter built into the lens. The diameter of the lens was so large that it would just barely fit into the BNC lens port, leaving no room for an additional focusing shell. As a consequence, we had to design a focusing arrangement so that the entire lens barrel rotates freely in the lens port. To avoid possible binds that might result from this unconventional mode of operation, we added a second locating pin to the standard BNC lens flange, so that the two pins securely held the lens barrel concentric with the lens port during operation.

The problem of the close proximity of the rear element to the film plane was a much more difficult matter to resolve. To begin with, we removed the adjustable shutter blade, leaving the camera with only a fixed maximum opening. We then had to machine the body housing and the aperture plate a considerable distance inward so that the fixed shutter blade could be pulled back as far as possible toward the film plane.

Naturally, the Compur shutter had to be dismantled and the iris leaves altered so that they could be manually operated in the normal manner. Calibrating the focus scale on the lens presented quite a problem, too. A lens as fast as this has an extremely shallow depth of field when shooting wide open, so Kubrick understandably wanted to have as broad a band spread on the scale as possible. To do this we used an extremely fine thread for the focusing barrel and this resulted in a scale which required two complete revolutions to go from infinity down to approximately 5 feet. We had to stop at 5 feet or it would have taken several more revolutions to bring it to the near focus point. Kubrick agreed that this was as close a focus as he would require, and that stopping at two revolutions would make the scale less ambiguous.

Remembering that this lens was to be used on a non-reflexed BNC and, further, that the rear element of the lens came within 4mm of the film plane, an additional problem was that the camera could not be racked over to the viewing position if the lens were in its normal filming position. Accordingly, we designed a safety interlock switch so that the lens had to be rotated a full nine revolutions out before the micro switch would trip, permitting the camera to be racked over. In this manner we protected the rear element of the lens from being inadvertently smashed if the operator attempted to rack over before the lens was moved forward sufficiently.

7Ed DiGiulio, President of Cinema Products Corporation, shown holding the new Cine-Pro 20-to-1 (24mm-480mm) lens, which was originally designed at the request of Stanley Kubrick specially for filming “Barry Lyndon”. The Zeiss 50mm, f/0.7 lens, with the Kollmorgen adaptor, is mounted on the non-reflexed Mitchell BNC camera utilized to shoot the film’s candlelight sequence.

8To protect the rear element of the Zeiss 50mm, f/0.7 lens (which was within 4mm of the film plane), a special safety interlock switch was designed so that the lens had to be rotated a full nine revolutions out before the micro-switch would trip, permitting the camera to be racked over.

At this point Kubrick complained that the single 50mm focal length was too limiting and that what he required was a wider-angle lens of the same speed. He began thinking in terms of various anamorphosing schemes or other optical tricks to widen the angle of the lens we had. I told him that before doing anything as mind-boggling as this I would check with some of the optical experts I knew to see if there were a simpler way. As luck would have it, Dr. Richard Vetter of Todd-A-O, a man whose optical expertise I’ve always held in high esteem, suggested to me that the result I was trying to achieve could probably be accomplished by using a projection lens adapter, designed by the Kollmorgen Corporation, which was originally intended to modify the focal length of 70mm projection lenses in theatres so that the image format could exactly match the size of the screen.

We purchased one of these adapters, mounted it to the front of the lens, and after some optical and mechanical manipulation we were pleased to see that the effective focal length of our composite lens system was 36.5mm. The aperture of the new 36.5mm lens remained at f/0.7 and its effective aperture was reduced only slightly by the minor light absorption in the two front elements. We sent this lens on to Kubrick and, again, he was ecstatic with the results. However, being the demanding technical genius that he is, Stanley Kubrick urged us to go further and see if we could come up with a still wider angle lens. Again I turned to Dr. Vetter, and this time he provided me with a “Dimension 150” lens adapter which, when mounted to the front of still another Zeiss 50mm prime lens, gave us an effective focal length of 24mm. However, at this point our improvisational engineering techniques began to catch up with us and Kubrick determined that the lens gave a bit too much distortion, so that he would not wish to intercut photography from this lens with photography from the other two.

9The Zeiss 50mm and 36.5mm, f/0.7 lenses used to film candlelight sequences for “Barry Lyndon” without the addition of artificial light were originally still-camera lenses developed for use by NASA in the Apollo Moon-landing program, and modified by Cinema Products Corp. The 50mm lens, shown here in focusing mount, had to have the adjustable shutter blade, necessary for still photography, removed for filming.

As a technician and not a creative artist, I asked Kubrick the obvious question: Why were we going to all this trouble when the scene could be easily photographed with the high-quality super-speed lenses available today (such as those manufactured by Canon and Zeiss) with the addition of some fill light. He replied that he was not doing this just as a gimmick, but because he wanted to preserve the natural patina and feeling of these old castles at night as they actually were. The addition of any fill light would have added an artificiality to the scene that he did not want. To achieve the amount of light he actually needed in the candlelight scenes, and in order to make the whole movie balance out properly, Kubrick went ahead and push-developed the entire film one stop – outdoor and indoor scenes alike. I am sure that everyone who has seen the results on the screen must agree that Kubrick has succeeded in achieving some of the most unique and beautiful imagery in the cinematic art.


(Left) Specially machined aperture plate to accommodate the Zeiss 50mm, f/0.7 lens. (Right) The specially machined aperture plate in position in the specially machined camera body housing, both designed to accommodate the modified super-fast lens. Kubrick refused to settle for a standard high-speed lens and the addition of artificial light because he wanted to re-create the natural patina and mood of stately houses illuminated solely by candlelight, as they were during the period of the film’s story.

On “A CLOCKWORK ORANGE”, Kubrick had made effective use of a 20-to-1 zoom lens that he had rented from Samuelson Film Service in London. The closing scene of the movie, with a long slow pull-back from the hero of the story as he walks along the river, is a prime example of its application.

Kubrick likes to own all of his own equipment even to the extent of building his own very modest location vehicle. This may be partly an ego trip, but I think it is mainly due to the fact that he is meticulous about the care and maintenance of his equipment and is, therefore, very uncomfortable with equipment that someone else has used. In any event, for whatever reason, Kubrick insisted that I build him a 20-to-1 zoom lens for “BARRY LYNDON”. What followed was a series of phone calls, telexes, and letters between Kubrick and myself and between me and the Angenieux Corporation, who were, in fact, the suppliers of the basic zoom components for all of these 20-to-1 zoom lenses. Through it all, Kubrick displayed the kind of technical knowledge and skill, rare in modern filmmakers, that enabled him to define the problem precisely and specify what had to be done to achieve the lens he wanted.

We went ahead with his program and were just able to put together a working prototype, still not properly finished or calibrated, so, that Kubrick would have it in time for the filming. Again he was delighted with the results, as seen in a number of exterior sequences in the film. We subsequently completed the design of this lens – the Cine-Pro T9 24-480mm zoom lens – and have built and sold several of these lenses. (And now that Kubrick has finished shooting the picture, we have finally completed the construction of his prototype lens.)

My relationship with Stanley Kubrick has been one of the most unusual, yet intellectually stimulating, that I have ever known. We have spent countless hours in telephone conversations, and written literally hundreds of letters and telexes back and forth. Yet I have never met the man! I felt sure I would while in London attending the Film ’73 exhibition with my wife, Lou. We were escorted to his combination home-and-office by his executive producer, Jan Harlan. But when we arrived, Kubrick was out scouting locations for “BARRY LYNDON” and expressed his regrets at not having been there to meet us. We were, however, very graciously entertained by his lovely wife Christiane, who is an accomplished and recognized artist in her own right.

This minor frustration aside, it has been an exciting and stimulating experience working with a man of Kubrick’s consummate skills and talents on his recent film projects. He currently has me investigating another camera/optical scheme he has in mind which I think I should keep confidential until he has had a chance to use it. Undoubtedly, it will be used on his next film project (a project which I look forward to with a mixture of trepidation and excitement).

Our company motto is: “Technology in the Service of Creativity.” I cannot think of a more fitting example of our motto at work than the modest role my company and I played in the making of “BARRY LYNDON”.


Till Next Time. Stay Tuned.


Iron Man 3 Trailer Looks To Kick Marvel Studios Phase 2 Off With A Bang….   Leave a comment

Hey Everybody,

With Iron Man 3 being the first post Avengers film for Marvel Studios, it will have to be a hell of a lot better than Iron Man 2 ended up. Bringing writer/director Shane Black on board was a good move on Marvels part, hopefully he’s given “Phase 2” a great kick start. Going from this first trailer I think we might have another great Marvel film to look forward to May 3 2013. Hope the peops over at Marvel Studios can keep the momentum going with their other characters leading into Guardians Of The Galaxy and Avengers 2…

Till Next Time. Stay Tuned.


Massive Marvel Movie Update June 2012 News And Rumors, What’s On The Way And When   Leave a comment

Hey Everybody,

Tons of movement in the Marvel universe these days, especially after the box office stomping that Avengers gave in the month of May. With Disney behind distributing the Marvel Studios picture from now on, it seems like we are all in for at least a 4-5 year push on the more extended and criss crossing storylines of the comics. So many great projects are on the way big and small that I hope even some wrongs may be righted with the re-boots of the shit storm Fox Marvel films Daredevil and Fan 4.  Only time will tell on the quality level of the continuing comic book movie making trend right now, it seems like every second day news is popping up about another Marvel character being close to appearing on the big screen. I can only hope the directors/film makers making these pictures care as much about the characters they decide to take on, as much as the check and the life style the film industry offers. Mostly because for us comic geeks that grew up reading and absorbing the Marvel mythos, the stories matter to us and have major weight that some people in Hollywood think is “no big deal” to change at their discretion. These people are idiots, and should wise up to the fact that they are so out of there element in the comic world they should stick to fucking up remakes of old TV shows or something. Fox producers I’m looking squarely at you fuckers and your lack of brains in this area (who ever was in charge of the Deadpool character for the last half of Wolverine movie you should be so embarrassed that you are so naive about the impact of fucking up  so bad) I could rant for ever about this shit.   Lots of news to see below, time to dive in.

The Avengers (May 4th 2012) Director Joss Whedon – I’ve seen The Avengers twice now and both times I thoroughly enjoyed both viewing, Love the Hulk, so awesomely rad… There really is a lack of adjectives to describe my enjoyment level during viewing it.  A fun film made for almost everyone to enjoy. The link to my full review below:

The Amazing Spider-Man (July 3rd 2012) Director Marc Webb – I think that the talent all look well cast. The production design looks interestingly good and I think the few times I’ve seen the trailers in 3D in the theater, for the first time I felt totally immersed into a character’s POV.  With the jumping from Building to building in New York point of view shots in the first trailer I got goose bumps and shivers while swinging over the city, feeling like I was doing this for real almost. The 3D effect they’ve come up with there is a pretty cool experience.

As far as the story changes to the character’s origin and hip new persona, I’m not really sold on the Perter Parker aspect of this film yet. I do really like Andrew Garfield as an actor, so I would hope after seeing the full movie I might like the direction Marc Webb has decided to go with Spidey. I’m still not sure what it is but even after the second major trailer (below), I still think there is something off about the back story part. I don’t want to wreck anything for any viewer but it’s laid out in the second trailer if you really look in the background that the back story of how Peter Parker becomes spider-man is completely changed from all the comic iterations.

I think the IMAX 3D might be worth checking out just for the pure spectacle. I’m still on the fence but I’ll definitely going to have my ass in the seats for the new Spidey come July 3rd, hope to be happily surprised by the experience.

Iron Man 3 ( May 3rd 2013) Director Shane Black There’s been lots of superb casting news for the now in production sequel. We obviously have the regulars back such as Downey Jr. , Paltrow, Cheadle and even the latest to be signed back, Favreau as driver/body guard Happy Hogan. The amazingly perfect casting news for fanboys and girls, is Sir. Ben Kingley as the mystical powered, 7 ring wearing villain, the Mandarin (according to IMDB), Iron Man’s main nemesis in the comics since 1966. As well a crew member let it slip that Sir Ben Kingsley is indeed playing The Mandarin in the film but he will not be the primary antagonist, Guy Pearce’s Aldrich Killian will be.

Pearce’s Aldrich Killian character is one of the co-creator of the Extremis virus in the comics which is one of the main story arcs the script is reportedly based on.

James Badge Dale is on board as Eric Savin, a character who after uncovering a government conspiracy is almost killed and is turned into a cyborg designated as Coldblood-7 in the comics

Then the latest addition reported by Variety is actor Ashley Hamilton to play the Jack Taggert /Firepower character which was never in the Extremis mini series I don’t think.

 Straight from the head of Marvel, Kevin Feige when he spoke with Empire on their podcast recently: “So Iron Man 3 has been structured specifically to be the antidote to The Avengers… Circumstances in the story separate Tony from having access to anything. We wanted to take Tony back to, metaphorically speaking, the cave from Iron Man, the first half of Iron Man, when he’s cut off from the world and needs just focus on his intellects to get himself out of his situation. So he’s not calling Thor, he’s not calling Captain America, he can’t press a special button to have the helicarrier come rescue him, so I think that’ll be a nice complement to the team up of Avengers.

Also in the lengthy Disney presentation at CinemaCon in late Aprill writer/director Shane Black talking about the direction of the project. He dubbed the movie a “technological thriller” and a “crisis movie” set in the world of “international war, arms and terror” saying that they will “put Tony Stark through the wringer” as they explore the trials of being Tony Stark. Although no villain has been revealed for the film, he said the villain will be one that will “frighten in today’s world.” At this point we do know the list of villains and character seems to keep growing at the movie is shooting in North Carolina right now under the code name “Caged Heat”.

With the success of The Avengers film it has also been reported that the production budget has been bumped up from $140 million to $200 million just recently, so the Marvel money people must like what they are seeing out of Shane Black and co.There continues to be spy reports pouring in from the set and some pictures surfaced with what was initially thought to be another villain in the mix “The Iron Patriot”.In the comic The Iron Patriot was Norman Osborn aka (the green goblin) but since Sony owns the right to that character it looked like  Eric Savin was going be dawning that armor for the film according to reports, but in mid June it was revealed that it is actually War Machine with a new paint job. So no Iron Patriot to appear this time around.  As Production moves to China for the second half of shooting in a few months, I can’t wait to see if they can keep the roll of quality films going at Marvel Studios. First official picture from set released just a week ago below:

So it seems like a mix of Jack Kirby characters with some newer comic storylines mixed in for the film. Looking really forward to seeing Kingley’s Mandarin in action for sure.

The Wolverine (July 26th 2013) Director James Mangold – After it was announced that Darren Aronofsky was going to be the director on the Wolverine sequel I was in absolute geek love heaven over the prospect of this.  After a few months at the helm he left the project reportedly because he didn’t want to leave his newly born daughter for the time it would take to prep and shoot the film abroad in Japan. so after that blow to the nuts,  it would be hard for me to be happy with any replacement choice. Along came James Mangold who I like as a director and am hopeful he will give us something that features and cherishes the Logan/Wolverine character and not mocks and fucks with it like x3 and Origins did. I am so nervous about this one it’s hard for me to really let myself believe Fox will let a quality Wolverine film happen. Because when I have had faith in the past as an ultra fan I get the shit box last two acts of films like Wolverine: X-Men Origins. total and utter bullshit, lazy film making and storytelling. The only real movement in news about the production is The Daily Telegraph revealed that Twentieth Century Fox will film The Wolverine in Hugh Jackman’s hometown, Sydney, Australia. In a deal estimated to be worth $80 million to the New South Wales economy. Deputy Premier Andrew Stoner, who helped secure the deal with Fox when he flew to Los Angeles in January, said winning the film would generate more than 2000 jobs for Sydney. Maybe Mangold will make something of the Christopher McQuarrie script partly based on the Frank Miller Chris Clairmont Japan set mini series, scared almost to death though. Really.

Thor 2 (November 8th 2013) Director Alan Taylor- After Marvel switched director Patty Jenkins (Monster) for Alan Taylor (Game Of Thrones) in late December early January,  Robert Rodat (best known for Saving Private Ryan) was brought aboard to do a re-write of the draft from Don Payne who was a contributor on the first film. Most of the news since then has involved the fact that most, is not all the original cast Chris Hemsworth, Natalie Portman, Tom Hiddleston, Idris Elba, Anthony Hopkins, Stellan Skarsgard  will return . For anyone who’s seen the Avengers you can imagine the storyline that will be taking place between the brothers.

Some more news in late May has been trickling out regarding the villain choice for the second stand alone outing for the God of Thunder.  Looks like some great choices looming for fans of the source material, with the reported from a source close to the production, The Enchantress is to be the vileness in the picture . Variety has also printed that actor Mads Mikkelsen is in talks to play an unknown villain most certainly to be The Executioner, the usual partner of The Enchantress in the comics. What Head of Marvel Kevin Feige has said about the film: “We’re going to see the other side of Asgard. It’s not all polished and golden in this film. And the events of Avengers will have affected Thor for sure. His relationship with Loki will continue to evolve, and the biggest part is Natalie and Thor returning with Jane Foster.”

I am very much looking forward to going back to Asgard again, hopefully Alan Taylor brings us something to surpass the very well done first film. I could go for some kick ass battle amongst the Gods right about now, fingers crossed.

Kick-Ass 2 (TBD 2013)- Director Jeff Wadlow– Universal Pictures is in talks with Matthew Vaughn to develop a sequel to Kick-Ass, the Mark Millar and John Romita, Jr. comic based film from 2010 which earned $96.2 million worldwide  on a $30 million dollar budget. Vaughn directed, produced and self-financed the project; Opting to produce the sequel , Jeff Wadlow will be directing with a reported script adaptation by Vaughn , which adapts not only “Kick-Ass 2,” but also the “Hit-Girl” spin-off that hits stores in June. The Hit-Girl storyline is to be the first act of the film. A reported September 2012 production start for the film, would have Aaron Johnson, Chloe Moretz and Christopher Mintz-Plasse all reprising their roles. I loved the first one and would be so into seeing Kick-Ass on the big screen again.

Captain America 2 (April 4th 2014)-Director TBDIt was reported by an insider at the studio in late March that the  field of ten directors they were looking at had been narrowed down to just three for the Cap sequel- George Nolfi, the writer/director of The Adjustment Bureau, F. Gary Gray director of The Italian Job remake, and an odd choice in the mix, Community’s Anthony and Joseph Russo. The choice for directors was announced here in mid June with The Russo Brothers snaking the gig. Hoping the quality is as good as the first film, I liked Joe Johnson’s take on Cap. Fingers crossed The Russo’s take things to the next level of radness.

The Amazing Spider-Man 2 (May 2nd 2014) Director Marc Webb – Even though The first film hasn’t opened yet Sony in already moving forward with a sequel. I guess they really like what they’re seeing from Marc Webb’s Spidey. On April 24th Sony Pictures announced that Alex Kurtzman and Roberto Orci were coming on board to work on the screenplay for The Amazing Spider-Man 2 written by James Vanderbilt. They will also receive Executive Producer credits. Kurtzman and Orci said: “We grew up as huge Spider-Man fans so, to us, the opportunity to work on this film is akin to being handed the Holy Grail. We love the direction Sony and the filmmakers are taking the Peter Parker/Spider-Man mythology and we couldn’t be more excited to be a part of this legendary franchise.”  Production is tentatively scheduled to begin in the first quarter of 2013.

 As Of Yet Undisclosed Marvel Project ( May 16th 2014) Director TBA– It’s been mentioned in a few interviews and articles in the last few months but now the CEO of Disney brought it up again in an interview for CNBC. There’s no confirmation yet on whether or not the project will be a sequel or if it might be based on a new character in the Marvel Universe, a film maybe I’ve written about below?

X-Men: First Class 2 (July 18th 2014) Director Matthew Vaughn– Matthew Vaughn, Jane Goldman and Simon Kinberg are all working on the “X-Men: First Class” sequel script now and shooting is set for January 2013 with a release planned for Summer 2014. Some serious spy news has surfaced in the last week or so that 20th Century Fox had registered the title DAYS OF FUTURE PAST with the MPAA Title Registration Bureau. Which exists for studios and productions companies to put their claims on certain titles that they intend to release, so that others can’t use that title. For any X-Men enthusiast the words DAYS OF FUTURE PAST should set your ball a tingling instantly. For those who are unaware of the great 1981 two-issue story arc of the X-Men comics,  it dealt with alternative timelines. In an alternative future, mutants were incarcerated in internment camps. However, the Kitty Pryde of that timeline transfers her mind to the Kitty Pryde of now in order to prevent that from ever happening. The assassination of Senator Robert Kelly by the Brotherhood is what sets off this chain of events, and now with the X-Men made aware of the future, they must try to stop it from happening ect…So it looks like some really interesting possibilities for this film.  I really liked the first outing and hope the second turns out better and more focused, but anything Vaughn makes I’m in the theater to see it with out question. He has always delivered for me no matter the film.

DareDevil (TBD) Director David Slade – A pretty much unknown David James Kelly has been hired to re-write a script for the planned “Daredevil” reboot at 20th Century Fox supposedly based of Frank Millers “Born Again” comic run. 9 years since the Marc Steven Johnson Ben Affleck feature fail, I’m nervous and hopeful we’ll see some kind of a quality Daredevil movie in the near future. Like playing craps, the quality of a Fox comic book film…Crossing my fingers and hoping that one of my childhood favs doesn’t get a fist in the ass again.

Ant-Man (TBD) Director Edgar Wright– Twitpic of Edgar Wright’s with the words: “Received this in the mail. What can it mean?” This one has been in the rumor mill for a few year but I bet now with the Avengers is doing well at the box office, we might get some quick movement on this Marvel flick from the director of Shawn of The Dead, Hot Fuzz and Scott Pilgrim. Would love to see this happen.

Avengers 2 -(TBD) Director TBD/ Joss Whedon?– Back in March, about two months before The Avengers opened on the big screen SFX (via Digital Spy) managed a few details from writer/director Joss Whedon about both the first film and a potential sequel: “I want to know what makes them tick, what makes them flawed, what makes them fight – and ultimately, what makes them awesome,” Whedon says of the superhero team. ” I go to these movies for those moments when the heroes define themselves, either through action or deliciously overwritten speeches.” Asked how a sequel could possibly be bigger than what he had planned for the May 4th release, Whedon responded: “By not trying to. By being smaller. More personal, more painful… By being the next thing that should happen to these characters, and not just a rehash of what seemed to work the first time. By having a theme that is completely fresh and organic to itself.”

 …And after the record breaking release this is what Joss Whedon told Hero Complex mid May about possibly directing the sequel “You know, I’m very torn.It’s an enormous amount of work telling what is ultimately somebody else’s story, even though I feel like I did get to put myself into it. But at the same time, I have a bunch of ideas, and they all seem really cool.”

No matter who directs it my ass will be in the seat come showtime on Avengers 2, I’ve dreamed to see Thanos in action on film for 15-20 years, beyond epic.  I do hope Marvel convinces Whedon to return in the directing seat but at the very least he’s set things off in such a great direction, the person taking over will have to pull off one hell of a play to make something to live up to what is amount to walking across water in Hollywood. Good luck to who ever that might be, I’m waiting.

Deadpool (TBD) Director Tim Miller – The script by Rhett Reese and Paul Wernick.(Zombieland), Ryan Reynolds to star. The whole thing seems really cool with full R rated content, Deadpool breaking the fourth wall and taking to the audience, brutally violent and all the snappy dialog to boot is the little bit that’s been leaks on this project . A decent Ryan Reynolds video about his feelings on the subject below:

In early January at the Arizona Comic Con Rob Liefeld (creator of Deadpool) briefly talked about the status of the movie, had some super awesome things to say:“They’ve got a great director on the movie, they’ve got a great script. I may or may have not seen some sort of test of footage that would blow your mind if you saw it and go holy crap and that’s Deadpool in costume. Katana swords, guns, shooting people’s faces off and making me laugh. And I may or may not have seen something that looks just like that. And you’ve got what would amount to the first R Rated X-Men movie. Because that script is R Rated. They may or may not have wanted to shoot eight minutes to see how it would play. And all I can tell you,  it’s close. It’s closer that it’s even been to going, or going Naaah, that’s too scary a proposition to make a R Rated Deadpool movie.”

The full video from the panel below( The Deadpool  movie stuff starts in at 37:05, with a great comment on the treatment of the character in the first Wolverine film and then all the stuff quoted above from the creators crazy enthusiastic mouth):

Doctor Strange (TBD 2013?) Director TBD It had been confirmed in late January that the script for Doctor Strange has been completed by Thomas Donnelly and Joshua Oppenheimer (Conan The Barbarian, Sahara). Marvel Studios is actively seeking a director to helm the project.

Once they have the right director on board, Marvel will then be searching for the cast to star in Doctor Strange. The Budget is reported to be somewhat smaller than the bigger Marvel movies but the studio is hopeful with all the right pieces as far as talent, Doctor Strange could absolutely be a great film. Production is expected to begin this year, with a release date likely to be sometime in 2013. A very interesting character I’d like to see something really out there storytelling wise to show the real range of the Marvel Universe.

Fantastic Four (TBD) Director TBD– Variety had an article in January with word that Fox was eying Josh Trank as a potential helmer on the reboot of Fantastic Four. Known now for his big screen directorial debut, the very well received Chronicle released on February 3rd 2012, he most likely can’t do any worse that the previous films. The complete shitting  on the fans faces with the Tim Story directed Fantastic Four in 2005 and 2007’s Fantastic Four: Rise of the Silver Surfer, Thanks so much for those two Fox. Also in 1994 a feature-length version was also infamously produced by Roger Corman and never released but still lingers on the internet to find for the curious and geeky fanboys. Would love to see a properly done Fan 4 flick, one of my favorite reads as a kid come to life on the big screen could be epic beyond belief. Both fingers and all toes crossed.

Venom (TBD) Director TBD– Also In early March The LA Times was reporting that Chronicle director Josh Trank was in talks to direct a Venom  feature film based on the “Spider-Man” character. Sony has toyed with the idea of a Venom spinoff in the past, but this new version is rumored to be unconnected to previous drafts. Would be surprised if we saw this materialize anytime soon but who knows what those wacky studio execs are on or  thinking most of the time. No word since the article mentioned the Chronicle directors interest. I would definitely be interested to see how’d they approach it though.

The Guardians Of The Galaxy (TBD) Director TBD–  In an CraveOnline interview with Marvel Studios president of production Kevin Feige,  he confirmed The Guardians of the Galaxy movie Marvel is planning will be about the modern version of the team, which includes such intergalactic superheroes as Star-Lord, Drax the Destroyer, Gamora, Groot and Rocket Raccoon and less Vance and that team. Taking the stories into the Universe and space could be ultra cool if the right villain were to appear, Thanos could work in this one to.

Black Panther (TBD) Director TBD– It’s been rumored for awhile that they were working on a treatment for some sort of live action Black Panther film and now with Avengers going off it would make sense to bring the character T’Challa (Panther’s real name) into the mix. Wakanda Black Panther’s homeland’s major export is Vibranium which is what Cap America’s shield is made from, an ultra rare metal mined from a meteor that fell from the sky.  For the keen observers we’ve got to see a few hints already in IRON MAN 2 of Wakanda as the Vibranium’s source . Bringing Black Panther to the big screen would fit perfectly into the larger plans of the Marvel film universe. Would be interested what the stand alone tale would be like and about but I’m game to give anything a chance in this new Marvel para-dime that is growing with every movie in their pipeline.

So there you go, you’re now up to date on all the Marvel films in the hopper. We can only hope and prey something great is in the bunch, bound to be some shit shows, but of course time will only tell.

Till Next Time. Stay Tuned.


Posted June 9, 2012 by JMC in Production Rumors, Facts And Other News That May Not Be Exactly True Tomorrow

Tagged with , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,