 Hall 's approach was to create peaceful compositions that evoked classicism , to contrast with the turbulent on @-@ screen events and allow audiences to take in the action . Hall and Mendes first discussed the intended mood of a scene , but he was allowed to light the shot in any way he felt necessary . In most cases , Hall first lit the scene 's subject by " painting in " the blacks and whites , before adding fill light , which he reflected from beadboard or white card on the ceiling . This approach gave Hall more control over the shadows while keeping the fill light unobtrusive and the dark areas free of spill . Hall shot American Beauty in a 2 @.@ 39 : 1 aspect ratio in the Super 35 format , using Kodak Vision 500T 5279 35 mm film stock . He used Super 35 partly because its larger scope allowed him to capture elements such as the corners of the petal @-@ filled pool in its overhead shot , creating a frame around Angela within . He shot the whole film at the same T @-@ stop ( T1.9 ) ; given his preference for shooting that wide , Hall favored high @-@ speed stocks to allow for more subtle lighting effects . He used Panavision Platinum cameras with the company 's Primo series of prime and zoom lenses . Hall employed Kodak Vision 200T 5274 and EXR 5248 stock for scenes with daylight effects . He had difficulty adjusting to Kodak 's newly introduced Vision release print stock , which , combined with his contrast @-@ heavy lighting style , created a look with too much contrast . Hall contacted Kodak , who sent him a batch of 5279 that was 5 % lower in contrast . Hall used a 1 / 8 inch Tiffen Black ProMist filter for almost every scene , which he said in retrospect may not have been the best choice , as the optical steps required to blow Super 35 up for its anamorphic release print led to a slight amount of degradation ; therefore , the diffusion from the filter was not required . When he saw the film in a theater , Hall felt that the image was slightly unclear and that had he not used the filter , the diffusion from the Super 35 – anamorphic conversion would have generated an image closer to what he originally intended . 
 Hall <a href='null_genetive' title='1'><mark>'s</mark></a>approach was to create peaceful compositions <a href='null_relcl' title='2'><mark>that</mark></a>evoked classicism , to contrast with the turbulent on @-@ screen events and allow audiences to take in the action . Hall and Mendes first discussed the intended mood of a scene , but he was allowed to light the shot in any way he felt necessary . In most cases , Hall first lit the scene <a href='null_genetive' title='3'><mark>'s</mark></a>subject by " painting in " the blacks and whites , before adding fill light , which he reflected from beadboard or white card on the ceiling . This approach gave Hall more control over the shadows while keeping the fill light unobtrusive and the dark areas free of spill . Hall shot American Beauty in a 2 @.@ 39 : 1 aspect ratio in the Super 35 format , using Kodak Vision 500T 5279 35 mm film stock . He used Super 35 partly because its larger scope allowed him to capture elements such as the corners of the petal @-@ filled pool in its overhead shot , creating a frame around Angela within . He shot the whole film at the same T @-@ stop ( T1.9 ) ; given his preference for shooting that wide , Hall favored high @-@ speed stocks to allow for more subtle lighting effects . He used Panavision Platinum cameras with the company <a href='null_genetive' title='4'><mark>'s</mark></a>Primo series of prime and zoom lenses . Hall employed Kodak Vision 200T 5274 and EXR 5248 stock for scenes with daylight effects . He had difficulty adjusting to Kodak <a href='null_genetive' title='5'><mark>'s</mark></a>newly introduced Vision release print stock , which , combined with his contrast @-@ heavy lighting style , created a look with too much contrast . Hall contacted Kodak , <a href='null_relcl' title='6'><mark>who</mark></a>sent him a batch of 5279 <a href='null_relcl' title='7'><mark>that</mark></a>was 5 % lower in contrast . Hall used a 1 / 8 inch Tiffen Black ProMist filter for almost every scene , which he said in retrospect may <a href='negative_concord' title='8'><mark>not</mark></a>have <a href='negative_concord' title='9'><mark>been</mark></a> the best choice , as the optical steps required to blow Super 35 up for its anamorphic release print led to a slight amount of degradation ; therefore , the diffusion from the filter was not required . When he saw the film in a theater , Hall felt that the image was slightly unclear and that <a href='been_done' title='10'><mark>had</mark></a> he not used <a href='None' title='11'><mark>the</mark></a><a href='negative_concord' title='12'><mark>filter</mark></a> , the diffusion from the Super 35 – anamorphic conversion would <a href='been_done' title='13'><mark>have</mark></a> generated an image closer to what he originally intended . 
Hall  approach was to create peaceful compositions evoked classicism , to contrast with the turbulent on @-@ screen events and allow audiences to take in the action . Hall and Mendes first discussed da intended mood of a scene , but he was allowed to light the shot in any way he felt necessary . In most cases , Hall first lit the scene  subject by " painting in " tdablacks and whites , before adding fill light , which he reflected from beadboard or white card on the ceiling . dis approach gave Hall more control ova thdahadows while keeping thedall light unobtrusive and the dark areas free of spill . Hall shot American Beauty in a 2 @.@ 39 : 1 aspect ratio in the Super 35 format , using Kodak Vision 500T 5279 35 mm film stock . He used Super 35 partly cus its larger scope allowed em to capture elements such as the corners of the daal @-@ filled pool in its overhead shot , creating a frame around Angela within . He shot the wdae film at the sadaT @-@ stop ( T1.9 ) ; given his preference for shootin that wide , Hall favored high @-@ speed stocks to allow for more subtle lighting effects . He used Panavision Platinum cameras with the company  Primo series of prime and zoom lenses . Hall employed Kodak Vision 200T 5274 and EXR 5248 stock for scenes with daylight effects . He had difficulty adjusting to Kodak  newly introduced Vision release print stock , which , combined wit his contrast @-@ heavy lighting style , created a look with too much contrast . Hall contacted Kodak , sent him a batch of 5279 was 5 % lower in contrast . Hall used a 1 / 8 inch Tiffen Black ProMist filter for almost every scene , which he said in retrospect may have ain't the best choice , as the optical steps required to blow Super 35 up for its anamorphic release print led to a slight amount of degradation ; therefore , the diffusion from the filter was not required . When he saw the film in a theater , Hall felt that the imadawas slightly unclear and dat done he not used no filter , the diffdaon from the Super 35 – anamorphic conversion would done generated an image closer to wat he originally intended .