BARB AND STAR GO TO VISTA DEL MAR with Cooke Anamorphic/i Special Flair Prime and Zoom Lenses

BARB AND STAR GO TO VISTA DEL MAR with Cooke Anamorphic/i Special Flair Prime and Zoom Lenses

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Brie Clayton February 11, 2021

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Toby Oliver, ACS, uses Cooke lenses to help Kristen Wiig and Annie Mumolo's latest comedy shine.

DP Toby Oliver, ACS (Australian Cinematographers Society) and director Josh Greenbaum selected Cooke Optics Anamorphic/i Standard and Special Flair (SF) prime and zoom lenses to tell the story of best friends Barb and Star who leave their small Midwestern town for the first time to go on vacation in Vista Del Mar, Florida, where they soon find themselves tangled up in adventure, love, and a villain's evil plot to kill everyone in town. BARB AND STAR GO TO VISTA DEL MAR was written by its two lead actors, Annie Mumolo and Kristen Wiig, who also wrote the 2011 smash hit comedy BRIDESMAIDS.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193517/BARB_STAR1_1200-1024x600.jpg alt= class=lazyload wp-image-2403517 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193517/BARB_STAR1_1200-1024x600.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193517/BARB_STAR1_1200-300x176.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193517/BARB_STAR1_1200-768x450.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193517/BARB_STAR1_1200-624x366.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193517/BARB_STAR1_1200.jpg 1200w data-sizes=(max-width: 1024px) 100vw, 1024px />Oliver is an award-winning cinematographer whose career extends from his native Australia to the United States and internationally. Named as one of VARIETY magazine's 10 Cinematographers to Watch in 2017', he now resides in Los Angeles and has forged a varied range of credits on feature films, documentaries and television.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193531/BARB_STAR2_1200-1024x683.jpg alt= class=lazyload wp-image-2403518 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193531/BARB_STAR2_1200-1024x683.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193531/BARB_STAR2_1200-300x200.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193531/BARB_STAR2_1200-768x512.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193531/BARB_STAR2_1200-624x416.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193531/BARB_STAR2_1200.jpg 1200w data-sizes=(max-width: 1024px) 100vw, 1024px /> The project came up through my agent while I was in Australia, explained Oliver. For me, it was great - a high profile comedy with Kristen Wiig. Who could ask for anything better? And this was a great change of pace for me, as I spent the last few years doing thrillers and horror films.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193624/BARB_STAR3_1200-1024x683.jpg alt= class=lazyload wp-image-2403519 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193624/BARB_STAR3_1200-1024x683.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193624/BARB_STAR3_1200-300x200.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193624/BARB_STAR3_1200-768x512.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193624/BARB_STAR3_1200-624x416.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193624/BARB_STAR3_1200.jpg 1200w data-sizes=(max-width: 1024px) 100vw, 1024px />When it came to selecting a camera and lens combination, Lionsgate decreed that the image quality and resolution be the same as Netflix requirements - 4K. That decision meant that we couldn't use a regular ARRI Alexa camera that only goes up to 3424 2202 resolution. So, we had to find a 4K camera. We eventually decided to use Sony's Venice camera loaded with the latest firmware update, so that we would have the most available features enabled, said Oliver. When it came time to selecting the lenses for the project, Josh made it very clear from the beginning that he wanted to shoot in anamorphic 2.39 to capture the vistas in the film.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200-683x1024.jpg alt= class=lazyload wp-image-2403520 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200-683x1024.jpg 683w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200-200x300.jpg 200w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200-768x1152.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200-1024x1536.jpg 1024w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200-624x936.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/02/11193641/BARB_STAR4_1200.jpg 1200w data-sizes=(max-width: 683px) 100vw, 683px />To say that Oliver is a fan of Cooke lenses would be an understatement. In Australia, not only was he a regular user of Cooke lenses, he owned a set of Cooke S4/is. As he explains it, at the time, about 12 years ago or so, it was the premium 35mm format lens for me. I used them on several projects in Australia; I loved the look and still do. Since then, Oliver has also used Cooke Anamorphic/i's, rehoused original Speed Panchros, as well as Cooke's S7/i Full Frame Plus lenses on all ten episodes of DEAD TO ME season two.

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