By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. IndieWire has expanded our survey of cinematographers out into the fall film festivals this year, starting with Venice. We reached out to directors of photography with films playing in Competition, Out of Competition, and Horizons about the cameras, lenses, and formats they used β and, most importantly, the creative imperatives that informed their choices.
More than 40 cinematographers responded, representing some of the biggest and most stylized swings at Venice and some of the smallest, most intimate stories at the festival.
As always, it is fascinating to read how different cinematographers and different projects utilize the same equipment to create drastically different looks. The look of certain films developed over the course of traveling through vast terrain, through rapport built on multiple collaborations or off of film school projects, and through distinct ways of structuring rehearsal and prep. No two movies are ever made exactly the same way, but the Venice lineup shows us just how many choices are out there for directors of photography, whether their films are playing at a festival this year or not.
He wants to shoot with only a handled camera in order to get an organic feel, or uses unsecured framing sometimes, as in running after the action. I know the ALEXA Mini perfectly and its viewfinder, so I can control my image staying close to the action in front and around the camera. I used Panaspeed sets that are both precise and gentle at the faces as landscapes. I tested them with an ALEXA LF, but we finally decided to let the large format down and keep the lenses to make my framing job easier with the camera on the shoulder most of the time.
I added 2 very light lenses from the Ultra Speed set that matches perfectly with the Panaspeed. I used to shoot at ISO, getting a nice texture in the low lights and protecting my hight lights for the outside shots. Augustin Barbaroux: We chose the Venice because of its versatility. Master prime was used because we preferred to shoot in an anamorphic way and keep a really good optical precision. It was important for us because with the color grader we used many tools to create smooth detail in the color and in the texture.
