![]() We felt the distortive and flaring qualities of this lens highlighted the presence of ancestry in this story. We may have been the ones pointing the camera, but it’s the history of the people of Africatown that created these images. For a few sections in the film we used a lomo round front anamorphic paired with the Arri Alexa Mini. Margaret tends to work improvisationally and instinctually, and is always looking to surprise audiences with new ways of capturing life, so having zooms allowed us to play with lens lengths and perspective while working quickly and honoring the moment. Zweifach & Manuel: Most of the film was captured very simply with a small crew and a single, small camera - usually a Canon C300 (we used all three generations) stripped down and held in the hands so as to keep a light and less imposing footprint. Lens: Canon 17 – 55,Canon 70-200, Canon L series 35mm, Lomo round front anamorphic 35mm/50mm, Panavision T series 35mm/50mm “Descendant” “Descendant” Courtesy of Participantĭir: Margaret Brown, DoP: Justin Zweifach & Zac Manuelįormat: Canon xf-avc HD/4K, Canon Raw LT 4K, Arri 2.8k ProRes 4444Ĭamera: Canon c300m1, Canonc300mii, Canonc300miii, Panasonic Eva1, Sonyfs7, Arri Alexa Mini, DJI X7 We did a lot of research before we started, and based on our budget and our demands on flexibility, the Sony A7SII, paired with vintage lenses, had a nice cinematic feel that we really liked. In every situation we were there as people - people who happened to have cameras with us. Also, we didn’t want a big camera between us and the women being portrayed. As this is a documentary, we had to be prepared for anything, any time. Loohufvud & Martinsen: The equipment was very lightweight, which made us very flexible for any situation that came up. Lens: Voigtlander Nokton 40 mm, Vintage Tokina Zoom tele lens, SLR Magic Section: World Cinema Documentary Competitionĭir and DoPs: Maria Loohufvud & Love Martinsen In post production, Final Colorist Mike Sowa at Fotokem helped us bring our original footage and over 175 film clips all together to make the film really sparkle! “ Calendar Girls“ I think in documentary work, sometimes you have to embrace the mix of cameras and lenses. Because we were on such a tight budget, when shooting outside of LA the producers hired DPs locally. And for our interviews and scene work we used a combination of Canon C300 Mk II, Sony FX9 and even a Black Magic Cinema Camera. We loved using the Canon 17-120 and 30-300 lensing to allow us maximum flexibility for the three-camera coverage we needed to shoot the large 24′ screen on stage, Nina presenting, and also the audience. Hagan: The throughline of the film is Nina Menkes’ staged presentation “Sex-Camera-Power.” We had a limited budget, so we gladly utilized a few Red Raven cameras lent to us for this part of the production. Lens: Canon 17-120 Cine-Servo, Canon 30-300 Cinema Zoom, Canon EF L Series zooms “ Brainwashed: Sex-Camera-Power“ “Brainwashed: Sex-Camera-Power” Care of filmmakerĬamera: RED Raven, Canon C300 MkII, Sony FX9 Often I even combine them with 1/8 or 1/16 Black Pro-Mist filters. I love the look and gentle sharpness these lenses have. That’s why I brought my set of adapted Leica-R primes and an Angenieux Zoom they specifically made back then for Leitz. In addition I like using vintage lenses to break the digital feel of modern cameras. ![]() This helps to bring the colors in the desired direction. I tend to use Arri LUTs as well as a custom made S1H-to-Arri LUT for on set preview and dailies. As the log2 curve of the Canon is very similar to the Arri curve. We shot logarithmic with both cameras, to be able to be flexible and achieve an organic look in postproduction. This combination and the modular designs gave me the needed variety, from handheld to a 1000mm tripod setup. That’s why I chose to film with a Canon C500MkII and a Panasonic S1H. Shooting animals in the open required a specific dynamic of preparation and improvisation, while staying in budget. ![]() Using long pans, crane movements, or dolly tracking to combine different elements in a slow tempo and narrow depth of field, to enhance how everything in the city happens in parallel. That’s why we chose a cinematic language that would keep the unity and duration of one shot, instead of editing. We were intrigued by how the organic matter of the earth shifts and changes because of human intervention, and how new natural habitats are formed. Bernhard: In “All That Breathes,“ our approach was always “to render the scientific into the poetic,“ as Shaunak puts it.
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