The ASC has brought a piece of cinematic history back to life with the unveiling of the ASC Todd-AO lenses, a meticulously restored set of vintage primes originally designed for the revolutionary Todd-AO widescreen system of the 1950s. Rediscovered in the Society’s Hollywood clubhouse, the lenses have been reengineered for today’s large-format workflows while retaining the unique optical character of their era. Unearthing these lenses is not only a celebration of the ASC’s legacy but also a bridge between filmmaking generations. Under the leadership of ASC member Shelly Johnson (who was ASC president before Mandy Walker was elected president earlier this year) and in collaboration with Zero Optik, the restoration ensures that the craftsmanship of mid-century cinema continues to inspire modern productions. Designed for widescreen history, reimagined for today The original Todd-AO format, developed in the 1950s by producer Mike Todd and the American Optical Company, was a breakthrough in widescreen filmmaking. Intended as a single-camera alternative to Cinerama, the format emphasized high resolution and immersive visuals. The lenses created for it became part of this technological leap. ASC Todd-AO lens. Photo by Ryan Rosenblum. Image Courtesy of Keslow Camera, Inc. Now, with the ASC Todd-AO lenses, that history has been revived. The refurbished set comprises nine prime lenses ranging from 18mm to 135mm. Each lens features unique T-stop and close-focus capabilities, with highlights such as the ultra-wide 18mm T5.3 (close focus: 1’1”) and the versatile 60mm T2.1 (close focus: 1’7”). To suit contemporary workflows, the lenses have been rehoused...
Published By: CineD - Today