![]() Large format is not an off-the-shelf affair, especially the lenses, and we worked with Panavision L.A. Image: Christopher Nolan and Hoyte Van Hoytema via M.S.Gordon/Warner Bros/Kobal/Shutterstock. But the lengths of the filmstocks in the magazines are fairly short - two-minutes for the IMAX, and around eight minutes for the 65mm - and I knew I would only have to shoulder the cameras for short periods of time. There was some crane work - with the camera mounted on a stabilised Edge Head, provided by Performance Filmworks - but it’s very sparse, that style of cinematography can take out of the immediacy of the moment.įrom a practical point-of-view, the IMAX and the 65mm cameras are big - like a hotel mini-bar - and the 65mm camera is heavier than the IMAX. ![]() Our ambition was to be in the action all of the time, to portray feelings and evoke the emotions of the people caught up in those dramatic episodes, in a documentary style. On shooting handheld with an IMAX camera:įrom an aesthetic point-of-view I thought it was an inspired choice. So if you want to tell a story in a visual way - as a dramatic, close-up, immersive experience of what is in front of you on-set - film is still the No.1 choice. To be honest, I am very much with Chris that there is not yet any medium that reaches the depth and quality of film. In an interview with British Cinematographer, Van Hoytema shared the following:Ĭhris is a champion of film, so Dunkirk was always going to be a film project. Image: Set of Dunkirk via Thibault Vandermersch/EPA/Shutterstock. Lenses: Panavision Sphero 65 (50mm wide angle, 80mm for close-ups), Hasselblad Lenses Oscar Nominations: 8 - Best Motion Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Production Designĭirector of Photography: Hoyte Van HoytemaĬamera: IMAX MKIV, IMAX MSM 9802, Panavision 65 HR, Panavision Panaflex System 65 Studio Several VFX houses worked on Blade Runner 2049, including Atomic Fiction, whose office we visited in a previous interview and tour. I’d also suggest checking out The Secrets Behind the Sound Design of Blade Runner 2049. The film’s sound design and VFX were also well received. You can read the whole Blade Runner 2049 cinematography piece here. It seemed a natural extension of the theme of moving light. ![]() But the caustics were just a background to the actual character lighting, which was also something I had been thinking about for some time. Of course, the addition of the element of water helped me create a second, quite-different look for that ‘interrogation’ scene. This was based on the idea of sunlight coming through skylights in the roof and was similar in a way to the initial wide shot that introduces the Records Library. The first lighting design was something I had thought out well before the idea of the pool was finally locked in. I always wanted to light the two scenes on that set quite differently. One of the main set pieces featured a light ring with 256 ARRI 300-watt fresnels, and another used 100 SkyPanels. The lighting rigs on Blade Runner 2049 were absolutely massive. We went through almost 1,400 rolls of gel by the time we had finished shooting! For the lighting, we used soft sources and lots of gels on the lampheads to create the different color atmospheres. Roger achieved most of the look in-camera. Our friends at ARRI provided some stellar set photos and gave us insight into the lighting rigs set up by gaffer Bill O’Leary. We previously took a hard look at Roger Deakins‘s work on Blade Runner 2049. Image: Set of Blade Runner 2049 via ARRI. Oscar Nominations: 5 - Best Cinematography, Best Visual Effects, Best Sound Editing, Best Sound Mixing, Best Production Design.Ĭamera: ARRI Alexa Mini, ARRI Alexa XT Studio Image: Blade Runner 2049 set via Sony Pictures. (You can find previous nominees here: 2017, 2016.) Let’s dive into the cameras and lenses behind 2018’s Oscar-nominated films and see what made the list. Obviously, ARRI continues to lead the pack as the standard cinema camera package - and ARRI just celebrated it’s 100th anniversary. That includes finding out the gear these filmmakers and cinematographers used. Leading up to the Academy Awards, I always love diving into the production stills and going deep into the tech specs for many of the Oscar nominees. Top image: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock. Dive into the cameras and gear used to capture all of the 2018 Academy Award nominees for Best Picture and Best Cinematography.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |