The lightness of the chosen tools allowed me to shoot the film either on my shoulder with an easyrig (mostly) or on foot with a very long focal length, in a documentary approach: I could turn fast, catch things on the fly, and improvise in the moment. The work on the materials, the elements (setting sun, ocean, etc.), and the ability to capture black skin in the night was very important. We wanted the viewer to feel the dust, humidity, and the ocean spray. ![]() The texture is a bit matte, and the rendering of flares and shine, especially on the skin, work with the fantastical dimension of the film while still capturing the soul of the Senegalese capital. We chose Varicam at night for its great sensitivity that allowed us to visibly film neighborhoods of Dakar almost plunged into darkness. We wanted to make a film that was visually arresting but remained very grounded in reality. Mathon: We chose the Red Epic to shoot daytime, to give romance to images that were captured in a documentary way, and to enhance the sun-drenched sets. Lens: Angenieux 45/120 and 25/250, and Zeiss lenses T1.3 Also the size factor was a big plus for us as the film was mostly set within a 8’x8’ basket! “Atlantics” cinematographer Claire Mathon courtesy of filmmaker “Atlantics”įormat: Digital, 1.66 aspect ratio, post production was done in 2KĬamera: Red Epic 5K and Panasonic Varicam35 4K Steel: For starters, the sensor on the Monstro is exceptional in its ability to render skin tone and color, and you never want for resolution. Lens: Panavision G class Anamorphic and Panavision Primo 70 “The Aeronauts” cinematographer George Steel with Felicity Jones Robert Viglasky “The Aeronauts” Light and colors (in its many stages on the journey away from the sun) played an important role in the way the script develops: I think film reads and registers that in the most visceral and sensual way. The texture adds a level of life and humanity to what often becomes quickly sterile in science fiction. Hoytema: I am in love with the feel of film. We would refer to these lenses as the “Astra’s” Based on the ARRI Master Primes, but with coating adjustments and custom elements. “Ad Astra” cinematographer Hoyte van Hoytema Francois Duhamel “Ad Astra”Ĭamera: Aaton Penelope 2 perf, ARRI Lt, and St 2 perf cameras Again, this was key for a film that is made to be one flowing, seamless shot. ![]() The 40mm focal length gave us the ability to shoot a close up without distortion as well as be able to move back to a wider shot. The 40mm Signature Prime lens is fast, incredibly sharp, and also very lightweight. For that reason, the Mini version of the Alexa LF was key to shooting this project. We needed the camera to be very small and lightweight so that we could use it on the stabilizing systems necessary for us to make the long and complex camera moves the story demanded. Deakins: We wanted the “look” of the Alexa LF with the shallow depth of field the larger sensor brings to the image as well as its higher resolution.
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