英文

1. Please introduce yourself as a cinematographer and your production team.

I’m Jaime García, born in 1976. I’ve been in the audiovisual world since 1996, professionally holding a camera in my hands. During this time, I’ve worked on music videos, TV commercials, short films, and this first feature film where I used DZOFILM’s PAVO anamorphic lenses.

2. Could you share the story of the film? Is it possible to know the inspiration for this film? (Perhaps Ray can share the story and inspiration?)

The film is a fast-paced thriller that tells the story of a housewife who finds a reason to stop being an abused and submissive woman and instead becomes a woman with a purpose.

3. Can we know why you decided to film it in the United States? What are the difficulties faced by multinational productions?

Filming in the USA is quite an achievement for any independent film. The streets, the atmosphere, and the people create a real set that everyone recognizes from major productions. The difficulty for international and independent productions of this caliber is not having all the budget we’d like. But that’s where ingenuity comes in and how to solve problems before they occur. It all comes down to good pre-production and having a fearless team that pushes forward no matter what.

4. In what scenarios (type of film or scene) do you prefer to use anamorphic lenses for filming?

It really depends on the project and where it will be shown. From the start of production, Ray (the director) told me that the intention was to take VICTORIA to cinemas with good distribution. This made me think about using anamorphic lenses, as they can be a great ally for enhancing the "look and feel" of the production. Of course, DZOFILM’s PAVO lenses were an excellent choice for this project.

5. What do you think of the PAVO anamorphic lenses after using them? Compared to the lenses you've used before, what are the pros and cons of the PAVO lenses that you'd like to share?

DZOFILM’s PAVO lenses were truly surprising from the camera raws during the technical tests. I remember exclaiming, "It can’t be true!" Ray commented, "Wow, Jaime, these lenses are definitely the ones for VICTORIA." From the first moment, we both fell in love with the results on screen, and at that point, we weren’t even using lights.

In terms of pros, I’d say the weight was a huge advantage. The lenses are quite light, and the weight is where it should be—on the glass. The encapsulation feels very lightweight yet sturdy. They’re also very bright,                which we appreciated during filming, as we could use fewer lights, save on lighting time, and work more with the actors' movement.

I didn’t have the chance to test all the lenses in the film, but the 32mm, 55mm, 65mm, 100mm, 135mm, and 180mm were constantly in rotation on set. I particularly loved the 65mm and the 180mm, with the 180mm               being used for exterior shots to record walks with the classic New York look from 90s American films. I absolutely loved it.

6. Did the PAVO lenses help you overcome any challenges during filming? Can you share an example?

The PAVO lenses are a highly recommended ally for any professional production. Honestly, the lenses didn’t make themselves noticeable on set, and I think that’s the most important thing. When you don’t have to solve optical or mechanical problems due to the lenses, it’s just "Action!" and the lenses capture the actors' performance in a masterful way, as they deserve. From the direction’s side, the lenses never drew a negative comment, and that’s also important—Ray Hungría, the director, liked the results he saw and how the PAVO lenses told his story shot after shot.

7. What is your favorite focal length on set and why?

The lens I used the most was the 65mm. If I had to explain why I used it so much, I’d need more space to describe it (laughs). The 65mm has something the other focal lengths don’t quite deliver. I think the optical department at DZOFILM deserves a big congratulations for the PAVO lenses in general—every DOP should try them without a doubt.

8. How did the PAVO S35 lenses perform on a Red Monstro VV camera?

This is an important point because we did many tests, even with the Marlin expander, to shoot Full Frame on the RED Monstro with the PAVO lenses. But in the end, both the director, Ray Hungría, and I agreed to sacrifice part of the sensor to achieve the glorious frame the PAVO lenses deliver in their natural state, without filters.

After several tests, we realized that by recording in full frame with the expander, we sacrificed a large portion of the frame that the lenses deliver naturally, just for higher resolution. For VICTORIA, we wanted to tell the            story in a grandiose way. We filmed in New York, and only lenses of the 2x anamorphic caliber, like the PAVO, could fully showcase the frame in all its splendor. The Monstro sensor gave us an extra point of light thanks to          its 0.50-micron photosites when we used the sensor crop at 6K in several focal lengths.

9. Based on your experience on set, what innovative features would you like to see in future DZOFILM products?

But there will be more innovations?! (laughs). I think DZOFILM is competing in a very tough market, but what’s important is that they are making their mark by gaining the trust of professionals in the industry. They’re getting the creators of tomorrow’s cinema to be their advocates, and that relationship is essential for both sides. Technology is advancing quickly, and I’m sure DZOFILM will surprise me a lot in the future!

10. Do you have any projects currently underway? Have you used other DZOFILM lenses in these projects?

I’m currently waiting for a contract for a series and a new independent film. Guess which brand of lenses I’m thinking of for both projects (laughs).