Hawk class-X and Hawk MHX lenses bring the “Magic” in Pauline

DISNEY+ SERIES BLENDS FANTASY AND COMEDY

“The Hawk MHX lenses are like magic,” says director of photography Tobias Koppe. “They feel like something new, something that’s not anamorphic and yet has the dimension of traditional 2x squeeze optics.”

Hawk MHX Hybrid Anamorphics – spherical lenses that deliver the elan of anamorphic without the limitations – were chosen for Pauline, a new Disney+ limited series with a distinctive look, produced by btf (bildundtonfabrik). Koppe became an early adopter of the then-brand-new line after an extensive series of tests involving four rental houses and more than a dozen varieties of lenses from every major manufacturer.

The script offered visual opportunities for alternate dimensions and the title character’s newfound superpowers.

“My first approach is always to get a sense of the organic feeling of any given lens,” says Koppe. “I also wanted to communicate to the directors what I had in mind for the show, and to see how various lenses reacted to color, because Paulinewas planned as a boldly colorful show. We needed something between the real world and a different, demonic dimension. The MHX lenses really stood out. The other lenses were nice, of course, but these are brilliant.”

Coming in, Koppe thought Hawk class-X Anamorphics would be the right choice, but with the test footage, he was able to convince the production to hire both the class-X and the MHX, with one flavor for the weird, devil world, and the other for the more realistic world.

The MHX line also offered budget-friendly efficiencies that appealed to production in practical ways, including their suitability for extensive visual effects. MHX spherical lenses use a patented shaping device to render elliptical bokeh, and bespoke optical design for other subtle anamorphic cues. Spherical lenses tend to be easier for VFX pros to work with.

“The close focus is amazing,” says Koppe. “You can do a closeup with the 28mm, and it looks beautiful. The anamorphic traits are there, but they don’t scream at you. And you can go from very close to far away in one shot, with no diopters. You can enjoy that flexibility, and use it in a creative way while also saving time.”

Hawk class-X Anamorphics, the culmination of 30 years of Hawk lensmaking, deliver a true 2x squeeze while offering improved definition and edge distortion, astonishing close focus, natural contrast and an organic look and feel.

The 19-year-old girl at the center of the tale finds herself with child – as well as gifted with supernatural powers – after a one-night-stand with a quirky boy who turns out to be the son of the devil. An intense battle between good and evil ensues, leavened by occasional comedic moments.

Koppe set the look with director Arabella Bartsch and shared DP duties with Borris Kehl. They shot Pauline on the Arri Alexa Mini LF and delivered a 2:1 aspect ratio, regardless of whether a scene was shot with the spherical MHX or the anamorphic class-X. The difference is distinct, yet subliminal without being jarring. Most of the scenes were shot on stages and locations in and around Cologne in Germany, over the course of about 50 days.

A quick-hitting editing style was applied with a youthful audience in mind. The cutting works hand-in-hand with the look and the internal pacing of the scenes. Pauline is often at the center of frames, while the world works around her. A one-camera feeling was the goal, even when two cameras were used. The color palette leans towards red and blue in the devilish world, with boosted contrast and no handheld. At times, stylization is exaggerated and almost played for laughs – an aesthetic echoed in the costumes, dialog and acting.

Vantage, the globe-spanning network of rental houses, provided much of the equipment for the project. Philipp Grimm, Branch Manager at Vantage’s Leipzig operation, was involved from the get-go. Grimm and Vantage co-founder and CEO Wolfgang Baumler were on hand for the tests.

“In a way, it’s like cooking,” says Grimm. “Vantage and Hawk have a wide range of main ingredients, and we can add many spices to achieve the desired results,” says Grimm. “First AC Tobias Kownatzki was especially helpful on this project, as he knows all of our tools. When there’s a spontaneous requirement or special setup, we find the solution together very quickly.”

For example, when one shot called for a “swirly” Petzval-like effect, the Vantage network in Paris and Weiden sprang into action, found the proper device, tested it and converted it to the correct lens mount, all in a matter of five days.

“That’s only possible if you have the passion to make your client happy in any situation,” say Grimm. “The people on the set have a full day and a full head. There are enough other factors causing stress, and that’s why it’s so important to have a reliable partner in organization and logistics. That’s one of the great strengths of Vantage.”

Pauline began airing on Disney+ and Hulu on May 22, 2024. Koppe is currently ramping up for his next assignment, a Netflix project that blends fantasy and comedy elements. He plans to shoot with Hawk MHX Hybrid Anamorphics.

Watch the trailer here.

Camera Crew:

DOP Tobias Koppe (lead) / Borris Kehl
Addidtial Dop und Operator: Joseph Strauch
Focus Puller A Cam: Tobias Kownatzki
2nd AC A Cam: Kaja Stycynska
Focus Puller B Cam: Gregor Steinweg
2nd AC B Cam: Manu Sommer-Ritz
Video operator: Tobias Sturm
DIT Dailies : Alexander Suer
DIT: Tobias Wiedmer
Gaffer: Benjamin Dreythaller
Key Grip Maike Maier
Production Design: Lea Fumy-Schleef / Uta Materne
VFX Artist: Julian Schleef
Production company: btf (bildundtonfabrik)