IndieWire reached out to the cinematographers whose films are in awards contention and among the most critically acclaimed films of the year to find out which cameras and lenses they used and, more importantly, why these were the right tools to create the visual language of their films
(Films are alphabetical order by title.)
“Annihilation”
Format and Camera: Sony F65 at 4K, for the shimmer we switched to Red weapon 6K.
Lens: We started with Primo anamorphic, then for the shimmer we switched to the G-Series anamorphic.
Rob Hardy: I wanted a subtle shift in the look of the film as Lena’s character (Natalie Portman) moves through the story and things get progressively more and more hallucinogenic. So by switching out camera and lens systems we introduced a much more heightened look. Additionally, we generated the color shimmer effect in camera by creating a shimmer library — this was...
(Films are alphabetical order by title.)
“Annihilation”
Format and Camera: Sony F65 at 4K, for the shimmer we switched to Red weapon 6K.
Lens: We started with Primo anamorphic, then for the shimmer we switched to the G-Series anamorphic.
Rob Hardy: I wanted a subtle shift in the look of the film as Lena’s character (Natalie Portman) moves through the story and things get progressively more and more hallucinogenic. So by switching out camera and lens systems we introduced a much more heightened look. Additionally, we generated the color shimmer effect in camera by creating a shimmer library — this was...
- 11/12/2018
- by Chris O'Falt
- Indiewire
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