What Cameras Were Used On The Film "Boy"

The world's best cinematographers explain how they created the visual language of "Roma," "A Star Is Born," "Blackness Panther," "Vice," and more.

IndieWire reached out to the cinematographers whose films are in awards contention and amid the nearly critically acclaimed films of the twelvemonth to observe out which cameras and lenses they used and, more importantly, why these were the correct tools to create the visual language of their films

(Films are alphabetical order past title.)

"Anything"

Director of photography Rob Hardy on the fix of "Anything"

Peter Mountain

Format and Camera: Sony F65 at 4K, for the shimmer nosotros switched to Cherry 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 moving picture as Lena'south graphic symbol (Natalie Portman) moves through the story and things become progressively more than and more than hallucinogenic. Then by switching out camera and lens systems we introduced a much more heightened expect. Additionally, nosotros generated the color shimmer outcome in photographic camera past creating a shimmer library — this was achieved by shooting color projectors against black, fired into a large format Panatar Anamorphic lens. The resulting color aberrations were then added as layering in the DI to attain an organic look for the shimmer itself.

"At Eternity'southward Gate"

"At Eternity'southward Gate" cinematographer Benoît Delhomme

CBS Films

Format: Digital, 2.35 aspect ratio, 8k and the post product was done in 4k
Camera: Carmine Helium 8K
Lens: Vintage Kowa spherical lenses

Benoît Delhomme: I chose the Red Helium considering I had never used a Ruby-red Camera before on a feature picture and I liked the idea of working with a camera that I could not control and understand completely. I knew it would affect my photography merely I was interested in taking that gamble. I wanted to find new textures. I wanted to get surprised by my own images. I found that the Red was giving me more saturated colors than what I was used to and that was proficient for capturing Van Gogh'southward territory. I also wanted to shoot in 8K to get very precise details in the landscapes and the copse.

I never thought of shooting this movie on film because of the style I wanted to be able to operate. I needed a photographic camera as small as an one-time Hasselblad. I reduced the Reddish Helium to the smallest box possible with two big wooden grips to hold and I was able to run in the fields like a state of war photographer. I could follow Willem Dafoe everywhere and improvise circuitous shots. I wanted the paw-held operating to be very alive, similar if the camera was a character in the movie. The Kowas lenses were very special and dangerous to use because they had nearly no anti-flare coating. Then when I was framing the sun I was getting very interesting ghost circles around it. It looked very similar to the fashion Vincent Van Gogh was painting the dominicus. These lenses were far from perfect and this is why I loved them. I often added split up diopters on them to blur the bottom of the frame when we were shooting subjective shots of Vincent having a crisis.

"Bad Times at the El Royale"

"Bad Times at the El Royale" cinematographer Seamus McGarvey

Kimberley French

Format: 35mm Picture show (Kodak 5219), Anamorphic with 1:2.39 Attribute Ratio
Camera: Panaflex Xl
Lens: Panavision C Series and East serial Anamorphic lenses

Seamus McGarvey: From my very first discussions with managing director Drew Goddard virtually the cinematographic await of the pic we e'er talked about shooting on film using anamorphic lenses. We chose anamorphic because I love the natural inherent distortions of squeezing and un-squeezing an image and what that does to the "real." It torques with the existent in an interesting way and distances you from the theatricality of the set. You can throw the groundwork out of focus more effectively. It is also a cute format for portraiture. We had extreme wides in our set up, but also a lot of cardinal moments play in close-up. There'southward nothing more beautiful than an anamorphic close-up, with the way information technology focuses on the eyes and drops off. You really get a sense of beingness inside someone'south head, which was a critical affair for the psychological attribute of this film.

The older C serial lenses bring in a bit of personality. Many cinematographers are very dandy on the glass lending something that isn't pristine clarity, contrast, and sharpness edge-to-border. Sometimes people want a bit of distance and a gauze betwixt you and the fix and the actor. It somehow brings in a little chip of the essence and magic of picture palace. Shooting with moving picture as our medium lent the movie texture in color, contrast and grain. I love how film depicts the profundity of the darkness and the particular in highlights (peculiarly in flames) which were crucial elements in our story. Shooting on film demands a discipline which I have witnessed disappearing on some of the digital productions I accept shot. With motion picture at that place is a respect for the actual take… it about makes the set up a more holy place!

"The Ballad of Buster Scruggs"

"The Ballad of Buster Scruggs" cinematographer Bruno Delbonnel

Alison Cohen Rosa / Netflix

Format: ARRIRAW 3.4K Open GATE
Camera: Arri Alexa Studio XT and Mini
Lens: Zeiss Master Primes. zoom lenses Arri Alura 15.5-45 and xxx-80

Bruno Delbonnel: I was trying to keep things equally simple every bit possible since it was the first time Joel and Ethan Coen were using a digital photographic camera. I've never been interested in the new technologies, I always tried to keep thing very simple. Low-cal and framing are more of import than the new toys. For years I was using the same bundle: a set of Cooke S4 lenses, an Arricam and Kodak 5219. For this projection, the closest to this set on digital was the Alexa studio and its optical finder and a fix of main primes because of the extra stop I would need on remote locations with a very limited access to large generators. The main challenge for "Buster Scruggs" was to find a dissimilar "expect" for the six short stories while keeping the visual thought of an "Illustration volume."

6 different very remote landscapes were shot during a very bad summer weather-wise. I guess the Alexa and its wide latitude helped me to become the contrast I needed when going from a sunny morning to an clouded afternoon. With this latitude and knowing I couldn't relight big landscapes, I knew that while grading I would have enough information in the loftier and low part of the image to match grade and find vi different "looks."

"Cute Boy"

"Beautiful Boy" cinematographer Ruben Impens and director Felix van Groeningen

Francois Duhamel/Amazon

Format: ARRIRAW 2.8K
Camera: Arri Alexa SXT
Lens: HAWK anamorphic V-light 1.3x squeeze get a i:85 attribute ratio

Ruben Impens: We wanted the motion picture in a 1:85 attribute ratio and a look that feels not as well modern, the motion-picture show takes place in 2002. At the same time it shouldn't feel too romantic, so we tested a bunch of spherical lenses and the Alexa 65 camera. When analyzing the test footage we very chop-chop experience in dear with the hawk wait. I had never used this i.3x squeeze lenses, merely information technology felt like information technology was the perfect residue. We had a lot of sunny exterior locations and the anamorphic bokeh felt merely right. The Alexa 65 was interesting but too clean and the lens choices rather limited, plus because we only had a couple of weeks left in prep I was uncomfortable going downwardly that path.  I needed more time.

About the photographic camera movements. We wanted a solid simple use of camera, rather wide lenses with 'slow ephemeral' tracking moves. The pace of the picture is rather irksome and so is the photographic camera, it creeps on you. That was the idea and it worked out very well.

"Black Panther"

Director Ryan Coogler and Cinematographer Rachel Morrison on the prepare of "Black Panther"

Format: three.4K Open Gate Arriraw
Camera: Alexa SXT and Alexa Mini
Lens: Panavision Primo primes and zooms. We shot the majority of the film on the 27mm, 30mm and the 35mm

Rachel Morrison: We ultimately chose spherical 35mm sensor over 65mm or anamorphic considering [managing director] Ryan [Coogler] really wanted a naturalistic feel and wanted a deeper depth of field and so that the audience could meet and experience the world of Wakanda. Nosotros needed glass that was sharp plenty for compositing, which eliminated some of the older "funkier" eyes. That said, I wasn't interested in Master Primes, which can feel too perfect and even clinical at times. We tested a number of lenses but it ultimately came down to Cooke S4s or Panavision Primos and nosotros chose the Primos because we liked the quality of their flare. Additionally, and importantly, we were exploring the theme of a circle for Wakanda and the Cookes have an octagonal bokeh, whereas the Primos have a much rounder bokeh — at the same shooting cease. The Arri Alexa with Primo lenses helped us to balance ballsy scope with humanity and intimacy.

"BlacKkKlansman"

Cinematographer Chayse Irvin on the gear up of "Blackkklansman"

David Lee/Focus Features

Format: Kodak 35mm Film
Camera: Panavision XL2, Arricam LT, Aaton Penelope
Lens: Panavision PVintage Lenses

Chayse Irvin: Information technology wasn't actually that I chose these tools, they chose united states of america. I experimented with many ideas in pre-production, video, 16mm, 35mm, Ektachrome, anamorphic lenses, spherical lenses, mod lenses, vintage lenses. Then I viewed the footage naked, free of an obstructed view nigh a format or practise. I was really hypnotized by the 35mm images, and additionally when information technology was flashed with a Panaflasher 3. Somehow it felt fresh to me, it challenged me. Kodak had just opened a new Lab in NYC and I interpreted all these signs as the film telling us this is what information technology needed to be. Information technology's a very Wu Wei approach to filmmaking, but I never want the images to feel contrived and symbolic, to avoid that I have to allow information technology all grow from within the process.

"Maverick Rhapsody"

"Maverick Rhapsody" cinematographer Newton Thomas Sigel

Alex Bailey

Format: Arriraw, 16mm and 35mm pic
Photographic camera: Arri Alexa SXT, Alexa 65, 35 Arri BL
Lens:Arri DNA lenses, vintage Cooke Speed Panchros

Newton Thomas Sigel: The outset days of immigrant Freddie arriving in London and meeting the other boys in the band was photographed with the Alexa SXT and vintage Cooke Speed Panchros. As Queen formed and hit the national stage, a transition was fabricated to the Alexa 65 with particularly designed Arri DNA lenses – all recorded in Arriraw. I as well used some 16mm and 35mm pic, particularly on the iconic "I Want To Intermission Gratuitous" video, which was shot on a 35 Arri BL. Fun fact: We found the actual camera that photographed Freddie's very terminal video, just earlier he passed away!

"Bohemian Rhapsody" opens with a tease of Live Aid, then dives dorsum to 1970 when Freddie first came to London. In those days he, and his future bandmates, had a beautifully idealistic energy. I used the erstwhile Speed Panchros and a special LUT to express this period. It is very gilt and romantic, just too a little raw: hand-held and grainy. Then comes "Top Of The Pops," their American tour and they skyrocket. This was done with the 65/DNA combo, and has a cleaner, more desaturated feel. Information technology grows equally we approach the 80s and Freddie transforms his expect as well. Information technology culminates in the massive Live Help concert.

"Male child Erased"

"Boy Erased" cinematographer Eduard Grau

Caleb The netherlands/Focus Features

Format: 35mm for the outside scenes, Alexa Arriraw 2.8K the rest.
Photographic camera: Arri Alexa and Arri Lt.
Lens: Zeiss Superspeed t1.iii coated and uncoated sets depending on the scene.

Eduard Grau: When we talked almost the movie with [managing director] Joel [Edgerton] we were looking to be honest to the characters and after testing it felt right to shoot spherical with an ane:1.85 [attribute ratio], because it is less fancy and made the characters more than real and likable. Only too we wanted to have a shallow depth of field so that Jared (Lucas Hedges) is in his ain personal world. We also liked the zeiss superspeed lenses because they had a pastel look and helped us on the softness of the images. Nix is black or white in the image, because our characters are not good or bad.

We shot on 35mm because it gave us the base texture of the picture, but it was more beneficial for the performances on the movie to shoot digital, so that'south what we did on the main scenes. At the finish of the solar day, we should assistance telling stories with our decisions.

"Can You Ever Forgive Me?"

Cinematographer Brandon Trost and managing director Marielle Heller on the set of "Can You Ever Forgive Me?"

Mary Cybulski

Format: REDCode RAW 8K
Photographic camera: Panavision Millennium DXL
Lens: Panavison Primo seventy serial lenses with a custom optical pattern by Dan Sasaki that became the genesis for the Panavision Primo Artiste T1.eight lenses.

Brandon Trost: Director Marielle Heller and I had always planned to shoot "Can Yous E'er Forgive Me?" with anamorphic lenses, but at the terminal moment nosotros tested the DXL and instantly felt that large format was the right option for the story. Traditionally large format is used for a yard sense of scale and scope, but we wanted a smaller scale, and then it wasn't on our radar. Nosotros were after an intimate portrait of early 90s NYC and nosotros were surprised to notice that the large sensor could allow a more personal sense of depth. We could utilize wider lenses for closeups without a distorted event, which felt like nosotros were allowing the audience to feel this intimacy in a real personal mode.

I also wanted a very soft and analog tone for this film, then initially I was concerned that shooting 8k would have besides much resolution and await to abrupt for my taste. This ultimately wasn't the case, and I establish various techniques of "softening" that worked well. I wanted to employ vintage lenses at first since they're usually softer by nature, but they proved unavailable so I had the Primo 70s lenses re-optimized. This gave an analog quality that was very soft and nigh creamy feeling while maintaining the perfect amount of resolution. We likewise shot well-nigh of this film broad open, and the shallow depth of field we could achieve with this system was really quite cute, even with wide lenses. The camera was rated at 3200 ISO for the unabridged film which induced an additional layer of softer texture while allowing to shoot with very low light. On meridian of that we added a grain effect in the DI that actually tied the whole thing together.

We were besides the very first motion-picture show to utilise this camera and lens system, so it was a chip of a gamble heading into this, but information technology delivered marvelously and the outcome was well worth it. I wanted this film to look similar a nostalgic NYC wintertime photograph printed on matte paper and I retrieve we got simply that.

"Cold War"

"Cold War" cinematographer Lukasz Zal

Amazon

Format: 2.8 ARRIRAW
Camera: ARRI ALEXA SXT
Lens: Zeiss Ultra Prime serial, Angénieux Optimo zooms 24-290mm, 19,5-90mm and 45-120 Lightweight

Lukasz Zal: The equipment is of import to a sure extent, only it does not influence the fashion the story is told through the image. For Paweł, the image is an integral part of the story and is as important as the actors, music and the narrative. During the long training process we were looking for the all-time formal solutions to tell the story. We spent huge amount of time preparing ourselves, simply once the shoot started, we immune for some space to literally sculpt the image – we constantly reframed and refined each shot in order to find the best one. We didn't exercise typical coverage, mostly we'd practise the scene with just one or 2 shots. Nosotros took all these elements – actors, extras, props, camera motion and lighting that all needed to coincide in ane go, at the same fourth dimension. This magical moment when all these things come up together is for me the virtually heady role of being a cinematographer.

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Source: https://www.indiewire.com/2018/11/cameras-lens-2019-oscar-contenders-best-cinematography-1202019782/

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