I was twitching on behalf of the 1AC in that dolly shot at the dinner table with an oblique angle. In fact, just looking at the credits[1], there was a dedicat

I was twitching on behalf of the 1AC in that dolly shot at the dinner table with an oblique angle. In fact, just looking at the credits[1], there was a dedicated focus puller on the film. The 1AC probably just watched the lens at all times to make sure it wasn't bumped or even thought of roughly. Thinking that other nerds must be talking about it[2], I found a great thread discussing the ~20cm DOF @ 3m and the tradeoffs that would be involved in shooting a similar setup today. http://reduser.net/forum/showthread.php?65115-Barry-Lyndon-Candle-lit-scenes http://reduser.net/forum/showthread.php?65115-Barry-Lyndon-C... [1] http://www.imdb.com/title/tt0072684/fullcredits http://www.imdb.com/title/tt0072684/fullcredits [2] I've been fixated on the New Wave and crusty mise-en-scène and so discussion of Kubrick only comes up about once a year. It's always Barry Lyndon, this lens, and how much better the film would have been without Ryan O'Neal. :-)