I like the Arri Master Anamorphic lenses because they hold focus across the entire image, whereas many anamorphic lenses fall off along the edges. Lenses: Cooke S4 lenses for the spherical scenes, Arri Master Anamorphic lenses for the anamorphic scenes.Īim: Wes and I have used the Cooke S4 lenses on a few of our previous movies and like the look, particularly how they render faces. This my third film with Justine but each time we’ve taken a new approach to shooting, it was really exciting!įormat: 35mm film – Kodak Vision 200T 5213 for color, Kodak Double X black and white 5222 for the black and white We worked with the same philosophy on the lighting, using some rough big entries of light from outside and almost nothing inside, making it a space where actors could be free to move, and play with light. We croped a lot in the sensor, enhanced the anamorphic’s aberrations (even if the aspect ratio of the film is 1.85 we choose this anamorphic’s particular look) in order to feel “the material” more, to push the grain, distorsions, out of focus in the edge of the frame and flares. With the 35mm as a reference we built a LUT and finally felt good with Alexa LF + Hawk V-lite. We made camera tests, 35mm in 2 Perfs, Red Monstro and Alexa LF with differents types of old lenses. All her references, even in still photography, were from film footage. I felt that the Alexa sensor deals very well with the extreme highlights, letting us embrace the overexposure without completely ruining the image.Īim: Justine had the feeling that it would be great to shoot this story on film. We shot in the city of Agra in Northern India in the height of summer, temperatures reaching almost 50 degrees Celsius (122 F), where the sun bleaches out everything it touches. And with the film being entirely handheld with long takes up to 10 minutes long, the Alexa Mini stripped down seemed like the best option for the film and my back. The Cooke S4s gave us just the right amount of warmth and ‘forgiveness’ that we needed to tell our story, a narrative which is quite harsh in nature and needed that visual empathy to soften the edges so to speak. Both Kanu and I try to stay away from the extreme sharpness of the newer lenses especially when paired with the new digital sensors, so we started testing for something that would give us that ‘soul’ we were searching for. We had chance to work with this camera in very cold winter conditions like -30 degrees Celcius (-22 F), very hot summer conditions like 40 degrees Celcius (104 F) and studio conditions, and we got really good performance from the Sony Venice.Īim: There was an initial idea of shooting on S16mm but for various logistical reasons it didn’t make sense so we started looking for the next best option. The new sensor gave us to opportunity to capture shadow details in the darkest areas and details in the brightest areas, from darkest scenes to very heavy snowy scenes, pressuring tones, colors and texture it was almost important for us to have natural, smooth and silky skin tones, plus built in ND’ies are very useful when you are using double filter on the mattebox. 16+ dynamic range also dual ISO giving very good low light performance which is we needed in this movie for most of the night scenes. The Venice has more color gamut than traditional film and more favorable 2.39:1 ratio 6:5 6K full frame maximum resolution when using anamorphic lenses. We tested to a few different cameras for this project and finally we decided on the Sony Venice. We also wanted to see how that difficult nature and harsh conditions embrace them when they’re happy. Image Credit: Cevahir Sahin and Kursat Uresinĭir: Nuri Bilge Ceylan, DoPs: Cevahir Sahin and Kursat UresinĪim: The reason why we preferred anamorphic lenses was to convey to the audience the difficulty of the environment where our characters live, the loneliness they experience in this challenging place, and how the harsh nature puts pressure on their living spaces even when they withdraw into their own world.
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