2026.02.28
DP Jonathan Hall on Classical Anamorphic Character, On-Set Freedom, and Capturing the Grit of the American South
DP Overview
Anamorphic lenses, at their best, do not draw attention to themselves. They shape the image in a way that feels natural to human perception. They allow light to fall off gently, allow shadows to retain depth, and allow space to feel dimensional rather than flat. For me, cinema has always lived in those subtleties. It exists in the softness of highlight roll-off, in the way backgrounds separate without distraction, and in the quiet physicality of the frame.
When I began working with the Pavo lenses, I immediately felt that they honored this philosophy. They preserved the classical geometry and emotional depth that define anamorphic imagery, without exaggeration or artificiality. Their rendering allowed the environment to exist alongside the subject, creating a sense of immersion and presence that supported the story rather than competing with it. The lenses never felt like an effect. They felt like a natural extension of the world we were photographing.
What stayed with me most was the freedom they allowed. Freedom to move the camera instinctively. Freedom to work in difficult environments without hesitation. Freedom to trust that the image would remain cohesive and emotionally true. The Pavo lenses did not impose themselves on the film. They revealed it.
1.Lens Selection & Visual Style: “Thieves’ Highway” was shot entirely on the DZO Pavo anamorphic lenses. What was the initial reasoning behind choosing this specific lens set, and how did they help you establish the film’s distinct visual identity?
I have always been drawn to anamorphic lenses that do not call attention to themselves, but instead allow the image to feel organic and emotionally grounded. I tend to avoid optics that feel overly sharp or clinical. For me, cinema lives in softer tonal transitions, velvety shadows, and highlights that roll off gently. That softness allows faces and environments to feel dimensional and immersive.
When I first encountered the Pavo lenses, I immediately recognized their classical anamorphic character. Their distortion feels intentional and restrained, even at wider focal lengths like the 28mm or 32mm. The spatial falloff enhances depth without becoming distracting, which reminded me of traditional Panavision anamorphics. Their contrast also carries a creamy, cohesive quality that helps unify the image.
Their compact size and complete focal range made them incredibly versatile. They allowed us to maintain a consistent visual language across intimate handheld work and larger action sequences without sacrificing their cinematic integrity.
2. Durability & On-Set Workflow: You mentioned the Pavo lenses gave you the “freedom to not have to protect them constantly.” How did this durability tangibly impact your on-set workflow, especially during the demanding action sequences and exterior shoots?
Mobility was essential on this film. The Pavo lenses allowed us to keep the camera compact while offering excellent close focus performance. For example, the Pavo 40mm focuses significantly closer than comparable lenses like the Hawk V-Lite 40mm. That difference allowed us to stay physically close to the actors without breaking the spatial continuity of the anamorphic image.
This gave the camera more freedom to remain inside the action, rather than observing from a distance. Their manageable size and durability also allowed us to transition quickly between handheld, Steadicam, and vehicle-mounted work without hesitation. The lenses supported movement rather than restricting it.
3. “Classic” Optical Character: You noted the lenses delivered a “classic” look. Which specific optical qualities—such as flare characteristics, focus breathing, or bokeh—contributed most to this feeling, and how did they complement the film’s Western/action genre tones?
The Pavo lenses carry many of the qualities audiences instinctively associate with classical anamorphic imagery. Their distortion, falloff, and out-of-focus rendering feel balanced and natural. The defocus characteristics create a gentle elliptical separation that enhances depth without distraction.
Focus transitions feel smooth and physical, reinforcing the dimensional nature of the image. Their flare behavior is also very controlled. I tend to avoid aggressive or overly saturated flares, and the Pavo lenses respond with restraint. When flare appears, it feels integrated into the environment rather than imposed on the image. This supported the grounded tone we wanted for the film.
4. Dynamic Action Photography: The film features intense gunfights and stunts. How did the Pavo lenses perform when capturing fast-paced, dynamic movement? Could you share a specific shot or sequence where the anamorphic format particularly enhanced the visual tension or storytelling rhythm?
Anamorphic photography allows you to see both the subject and the world around them simultaneously. This was essential for the action in this film, where the character is constantly moving through danger.
The wider field of view allowed us to preserve environmental awareness while maintaining emotional proximity to the actor. The Pavo lenses allowed us to move fluidly between handheld, Steadicam, and vehicle rigs without disrupting the visual continuity of the film.
They gave us the flexibility to respond instinctively to movement while maintaining a consistent and immersive image.
5. Hard Light & Texture: You expressed happiness in being able to add hard light. How did the Pavo lenses interact with that strong, direct lighting? Did they help you achieve the heightened sense of “texture” and the gritty, summer heat of the Southern setting you were hunting for?
It was important that the film conveyed the physical discomfort of its Southern environment. The heat and intensity needed to be felt in the image.
The Pavo lenses responded beautifully to harder, more direct lighting. Highlights remained smooth and dimensional, while shadows retained depth. Their defocus rendering added subtle texture and movement to the background, reinforcing the atmosphere of heat and tension.
Their consistency across focal lengths allowed us to move between perspectives without breaking the emotional continuity of the image.
6. Post-Production & DI: From a colorist’s perspective, how did the image data from the Pavo lenses handle the DI process? Did their optical profile provide a unique or favorable foundation for color grading and achieving the final look
The lenses provided an excellent foundation for the DI process. Their natural contrast and smooth highlight roll-off preserved tonal detail, giving the colorist flexibility without requiring correction.
Because the optical rendering remained consistent across the set, the grading process could focus on shaping mood rather than fixing inconsistencies. The lenses delivered a cohesive image that remained true to what we experienced on set.
More about Jonathan Hall: https://www.imdb.com/name/nm1424077/