In my head, you’re still the guy who made the cinema-spec pinhole lenses (hence Zero Optik?), but that was a long time ago now though, right? I can’t even see them on the website anymore. H: So, Alex, let’s start with a bit of background for those reading this who don’t know who you are or what you do. The following is a slightly edited transcript of the email conversation that followed. Later that day, I dropped Alex a message on Facebook and after a bit of a chat about lenses and working with Zack, I decided it might be interesting to interview him for 35mmc about the work he does and some of the differences between the cinema and stills photography worlds when it comes to the use of vintage glass. I couldn’t remember if he had told me who the director was, but reading the article made me wonder if it had been Zack Snyder and this new film.
CINESCOPE VS SERIES
Over coffee, Alex had told me about one of his clients – a Hollywood Director – who he had recently worked on a series of these Canon lenses for. He was over from California for an event, and after becoming pally through chatting on instagram we had decided to take the opportunity to meet up. Sometime in 2019 I travelled down to London to catch up with Alex Nelson from Zero Optik. Reading that article triggered something in my memory.
Not so long ago, Kosmo Foto reported on the fact that the latest Zack Snyder film, ‘ Army of the Dead’ had been entirely shot with Canon 50mm 0.95 “dream” lenses.