Class-X lenses maintain vintage look with improved efficiency and creative benefits
When director of photography Stijn van der Veken ASC, SBC came onboard to shoot the second season of the BBC hit series Rogue Heroes, the producers didn’t ask which camera he wanted to use. They were more curious about the choice of lenses.
“They felt that the vintage glass used on season one suited the story well,” recalls Van der Veken. “But they were hoping to avoid the technical disadvantages of older lenses without straying too much from the established look of the show. The bending on those older lenses was quite strong, and characters on the sides of the frame can be distorted and skinny, or appear fat in center. Personally, I do like the vintage look for specific projects, but I don’t like the artifacts too much, especially the bending.”
After extensive testing, Van der Veken suggested Hawk class‑X – modern 2X anamorphics with improved edge distortion, excellent close focus and an organic feel.
“I tested four or five lens sets, including some spherical ones, as well a very sharp, modern lens that I thought was inappropriate for the project but a good reference,” he says. “I gave a good explanation of the various options, but I also defended my preference.”
Upon seeing the proper tests, graded by the person who would grade the show, the producers all agreed immediately with Van der Veken that the Hawk class‑X were the right choice.
“The class‑X have a velvet look that is good with skin tones, color rendition and focus,” the cinematographer says. “They have a good stop, and good close focus. When close focus is limited, complications increase quickly. You have to use diopters and it’s uncomfortable. I like to work within two and a half or three and a half feet – I think that’s the sweet range of the lens, where the character comes to life. The bending was way less than we expected, and easy to correct in post.”
Rogue Heroes is based on true World War II events that led to the formation of the Special Air Service branch of the British Army. Season One, which chronicled the war in North Africa, was a big hit for the BBC. Season two, expected in January of 2025, depicts the invasion of Europe, starting in Sicily.
The fast-paced, 81-day television schedule allowed about 13 days per episode. Often many extras were involved, and visual effects were extensive. The main unit usually shot two cameras – Alexa 35s – and a third camera sometimes joined main unit and sometimes split off. The 35mm focal length lenses were used most, but the entire range found applications. All in all, there were two full sets of class‑X and a couple Hawk zooms. Except for the 110mm and the 140mm, class‑X lenses offer a stop of 2.2.
“That means you can light for one stop and easily switch to another lens if need be,” says Van der Veken. “When you’re trying to keep up a certain pace, you don’t want to be held up by technical equipment issues. With three or four cameras, imagine if every lens had a different stop. It’s a deal-breaker. The zooms matched perfectly, and were very good even wide open.”
Key support for the project was provided by Hawk London as well as by Vantage Brussels and Philippe Piron.
Season Two of Rogue Heroes is a hit in the UK, and will be released in North America imminently, on MGM+.
“The producers are all very excited about how it looks,” says Van der Veken. ““If I’m asked to shoot season three, I will no doubt choose the same combination of lens and camera.”
Watch the trailer here.
images: IMDb, Stijn van der Veken, ASC, SBC
