Yves Cape conversation about his work with Leica Summilux-C Cine Lenses

Interview by Ariane Damain Vergallo

par Leitz Cine La Lettre AFC n°262

[ English ] [ français ]

At the extremely well visited CW Sonderoptic booth at the AFC Micro Salon we started a discussion with cinematographer Yves Cape about a shared passion for pictures. A few days later we continued the feverish conversation for over two hours.
Summilx 135 mm - Photo CW Sonderoptic / Hercher
Summilx 135 mm
Photo CW Sonderoptic / Hercher

As we were camera assistants at about the same time we unrolled the thread of the fantastic technological changes that our generation has known. If it was a question of ergonomics, customization and accessories, the choice of the camera was not really, like today, an issue. The camera was used to unwind the film, that’s almost everything ! It did not affect the general look of the picture. At that time the choice was rather on the type of film stock, the process lab and particularly the lenses !
We assistants crossed our fingers that no minor conflict would come up with the lab and present us with the responsibility of potential problems. We shared the serial numbers of the best lenses between us. The cinematographers of this generation constantly refer to the rendition of such and such a brand, currently qualified as vintage.

The arrival of the digital era and the shutdown of theatrical 35mm projection in 2012 created a multitude of additional options and stakeholders. The choice of the camera is now as fundamental as that of the lenses. The laboratory can intervene in a very early stage of a film production. For us cinematographers the colorist has become an essential key partner during the whole workflow of a moving picture.
Yves told us the tight discussion he had with his team about the only choice of the camera for his next film La Sage femme, directed by Martin Provost, with Catherine Deneuve and Catherine Frot, produced by Curiosa Films ; arguments, pros and cons rang out, it was like a meeting of strategists before a decisive battle !

In selecting the lens the cinematographer reaches to the heart of the profession, namely the art of making beautiful pictures in harmony with the needs of the film. Because of to the ultra resolution of the digital cameras the lens choice is crucial. Once the camera is chosen- with many convolutions as we have seen – his sensor needs now to be combined with the optical elements. We start thinking about a selection of lenses so that they may “agree” with the camera. Then we test a short list of brands, slipping in an “outsider” series, so as to consolidate the final choice.

Yves shot his last two films with the Leica Summilux-C series : Chronic, by Michel Franco with Tim Roth and Orpheline, by Arnaud des Pallières, which honors a trio of young French actresses of a new generation : Adèle Exarchopoulos, Adèle Haenel and Solène Rigot. Two very different films with directors working in almost opposite ways.
Michel Franco works traditionally with precise prepared framings, realistic scenes ; the faces and bodies were part of a strong geometrical set design. For this framework the Leica Summilux-C lenses seemed quickly to be the ideal lens because there is nearly no horizontal and vertical distortion, even on the shortest focal lengths.

For the night scenes it was important to Yves to work without additional light, for example at T-stop 1.4 and still be assured of a beautiful definition, which is the case with the Summilux-C with optimal rendition fully open at T 1.4, 2 and 2.8. The lens illumination from one edge of the other is almost equal.
The accuracy and the taste for purity of director Michel Franco drove them over the shooting to use mainly three focal lengths : 25mm, 40mm and 65mm.

Arnaud des Pallières’ movie has another approach. He prefers hand held camera, almost without repetition, so Yves had to stick closer with the camera to the young actresses. For this work he banned too short focal lengths, even if it had been helpful for smoother camera movements. He was framing the faces in the middle of the picture and the shoulder camera was the center of rotation, avoiding strobe effect on the background.
For these difficult conditions the Summilux-C lenses give us a comfort with a wide range of focal length having all the same weight and dimensions. All lenses have an identical linear focus scale from 3 meter to infinity on all lenses from the16mm to 135mm. The focus puller can work out automatism and switch quickly from one to another focal length. This flexibility gives freedom to the director as well. The near absence of flare makes the use of these lenses very versatile.

Série Summilux du 16 au 100 mm - Photo Jon Fauer / <i>F&D Times</i>
Série Summilux du 16 au 100 mm
Photo Jon Fauer / F&D Times

Yves has a credo : he loves when the scene outweighs the image and he chooses the Leica cine lenses also for their realistic, balanced and “normal” look in a way. The fuzzy transition is nice and not too rough in the background, although he tastes the sweetness of the skin rendition without altering the definition of the image. The smart sharpness can be found in the glow of an eye, the beat of an eyelash or the bristles of a beard. You can almost itemize one by one as they are sharp. The fact that all the focal lengths cover the sensor in 4K and 6K is also an argument for the final choice.

Summilux 16 mm - Photo CW Sonderoptic / Hercher
Summilux 16 mm
Photo CW Sonderoptic / Hercher

And if Yves could make a wish for the future he would like to have a small Leica Summilux-C zoom lens, for example 25-85mm, which would fill his cinematographer heart with happiness.

Thanks to Yves Cape for this friendly and fascinating discussion. Thanks to the AFC and its zealous organizers who make the annual Micro Salon better and better each year.

Movies shot with Leica Cine Lenses released in French theatres in March :
- Chocolat, directed by Roschdy Zem, cinematographer Thomas Letellier
- Tout schuss, directed by François Prévôt-Leygonie and Stéphan Archinard, cinematographer Stephan Massis
- Les Innocentes, directed by Anne Fontaine, cinematographer Caroline Champetier
- Dieumerci, directed by Lucien Jean-Baptiste, cinematographer Colin Wandersman.