IndieWire reached out to the cinematographers and directors behind the scripted narrative features premiering this week at Sundance to find out which cameras, lenses, and formats they used, and why they chose them to create the looks and meet the production demands of their films. Here are their responses.
Films in U.S. Dramatic Competition are below, Premieres are on Page 2, Next Page 3, Midnight Page 4. Films appear in alphabetical order by title.
Section: U.S. Dramatic Competition
“Before You Know It”
Dir: Hannah Pearl Utt, DoP: Jon Keng
Format: 3.2K Prores 4444
Camera: Arri Alexa Mini
Lens: Cooke S4i
Keng: The cast was made up of primarily women across all age groups, so I wanted a lens set that would render their faces well without being overly clinical and sharp. The S4s have a very pleasant way of compressing people’s faces, even at wider focal lengths. I chose...
Films in U.S. Dramatic Competition are below, Premieres are on Page 2, Next Page 3, Midnight Page 4. Films appear in alphabetical order by title.
Section: U.S. Dramatic Competition
“Before You Know It”
Dir: Hannah Pearl Utt, DoP: Jon Keng
Format: 3.2K Prores 4444
Camera: Arri Alexa Mini
Lens: Cooke S4i
Keng: The cast was made up of primarily women across all age groups, so I wanted a lens set that would render their faces well without being overly clinical and sharp. The S4s have a very pleasant way of compressing people’s faces, even at wider focal lengths. I chose...
- 1/29/2019
- by Chris O'Falt
- Indiewire
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