Sony a7sii 2.35 cinescope6/16/2023 ![]() We also shot so many different interviews in so many different locations that it was important to use cameras that would maintain a unified look. I like to use a lot of depth of field in my shots so it was important to use lenses and cameras that could provide a sense of space. “Miles Davis: Birth of The Cool” “Miles Davis: Birth of the Cool” director Stanley Nelson Henry AdebonojoĬamera: Cannon XF, Sony FS7, Canon C300 MK2, Canon C300 MK1ĭirector Stanley Nelson: Our crews are pretty small, so it was important to use cameras that were conducive to quick set ups and breakdowns without compromising the cinematic feel of our interviews and the looks we were trying to achieve. At the same time it was important for us to capture their emotions as they reacted, and the kit he used allowed us to strike that balance. I knew my interview process would involve talking to my family about some traumatic aspects of their upbringing and my Director of Photographer, Mike Jonathan had a strong respect for allowing us space to have honest conversation while minimizing the feeling of intrusion a camera can bring to those intimate moments. The Sigma Primes gave us the shallow DOF we wanted for certain scenarios, and when a zoom was the right tool the Canon CineServo offered the range we needed.ĭirector Heperi Mita: Much of our story revolves around my older siblings reminiscing about old archival documentaries shot on 16mm film by our mother, as well as 8mm and VHS home movies, and I really wanted our interviews to have a modern, clean and crisp look to contrast the grainy, vintage looks of the archival material to mark the passage of time. Lens: Sigma FF High Speed Primes, Canon CineServo 17-120ĭirector Alex Gibney: I love how Arri cameras capture color, paired with a Sony FS7 when two cameras were needed. “The Inventor: Out for Blood in Silicon Valley” Behind the scenes of shooting “The Inventor: Out for Blood in Silicon Valley” Lincoln Else In the end, the two looks complemented each other, and achieved the two layers of time that I was looking for. The vintage lenses provided the authenticity of the period. For the scripted, we worked on an ambiance I’d call neo-noir, where the shadows are prominent but the skin still glows. For the interviews I wanted luminosity and radiance, and the Canon camera seemed like a great choice. It’s less polished, but more intimate.ĭirector Frederic Tcheng: We had to create two distinct looks that would be woven together in the movie: the interviews with subjects today, and the scripted scenes taking place in 1983. ![]() Using wider lenses and being physically closer to her allows the viewer to see the world from Ruth’s diminutive, 4’7″ perspective. Ruth that the public has never seen before. Proximity to the subject was a big consideration for this film. These are the consideration that can make the biggest difference when shooting verite day after day with a tiny crew. The Canon system is great for this, because it is very scalable ergonomically, the cards have a solid runtime, and we had the camera modified with external battery power to run almost all day without having to stop filming. ![]() ![]() We wanted everything to feel very natural and not overly finessed, so there’s a ton of coverage where we just follow Ruth around a space and do our best not to interfere. Ruth is probably the most active 90-year-old you’ll ever meet, and keeping up with her is no easy task. Lens: Zeiss CP.2 Superspeeds, Canon L Series, Angénieux EZ ZoomsĬinematographer David Jacobson: Dr.
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