Cannes Film Festival is one of the most influential film festivals in the world. He is already 70 years old this year. During this year, many films were screened during the Cannes Film Festival. He didn’t know which weapons the world’s famous photography directors used to shoot exquisite pictures of movies such as "Under the Peony" and "Surprise in Silence", and didn’t know why they were filmed with them.
is the same as you, and I am also curious about it, so I have to find their interview to tell you in person. I am not a equipment party, but with these clear comparisons, everyone will have a more direct comparison in their creation. This will help everyone to position their projects more accurately. There are several trends at the Cannes Film Festival this year, and everyone needs to pay attention to: 1. Film shooting has made a comeback worldwide. 2. Filmmakers around the world are using various unique techniques to create exquisite pictures. For example, "Marvel in Silence" adopts the shooting style from the 1920s to the 1970s, and the movies are shot on iPhone.
Source: http://www.indiewire.com/ Translation: Sydney Cat
Main Competition Unit
" 120 hits per minute" (120 Beats Per Minute)
Director: Robin Campillo
Photography Direction: Jeanne Lapoirie
Arri ALEXA Mini
Lapoirie: "We use two Alexa Mini, and the third one is used to shoot some clips. Alexa is my favorite because it can shoot the closest to 35mm, which is more natural than shooting with other cameras. The whole movie is handheld, so Mini is definitely the most suitable choice. "
" Double-faced lover " (Amant Double)
Director: Francois Ojun
Director: Manuel Dacosse
Arri ALEXA
Dacosse: "I chose to use Alexa to shoot this film, and paired it with Cook S4 and Anqin zoom 18-80mm lens. Francois usually likes to shoot with film, but he wants to try shooting with a digital camera for this project, so I suggest him to use Alexa. The Alexa camera can retain the details of highlights. I am confident that I can operate Alexa freely, so it is very fast to shoot. Francois personally also likes to shoot quickly."
"The Beguiled"
Director: Sophia Coppola
Photography Direction: Philip Lessum
Arricam light, 35mm film
photography guide Lesu at the shooting scene of "Under the Peony"
Lesu: "Photography with film is the right decision, because only film can produce such soft colors, tones, porcelain-like skin, textures, etc. We forgot how beautiful films are. I think digital movies are far from reaching the realm of film movies. No matter how high the resolution of digital cameras is, they cannot replace the beauty of films. . "
" Sophia Coppola is not interested in replaying it on the shooting site. We don't use monitors so that she can focus on the actors when shooting. She is very relieved about the lighting and composition of the scene. Using film will give us more freedom, even if we have to face the technical challenges of shooting night scene outdoor scenes with candlelight. "
" Gentle Woman " (A Gentle Creature)
Director: Sergey Loznisa
Director of Photography: Oleg Mutu
Arri ALEXA Mini
Mutu: "We chose the Alexa Mini to shoot because it is very light. It is easy to manipulate the scenes in the car, and there is enough space for us to shoot around the actors."
"Good Time"
Director: Joshua Saffdy , Benny Saffdy
Director: Sean Price Williams
Arricam LT, Kodak 5219/5207
Shawn Price Williams films Good Time
Williams: "For years we have been trying to shoot a movie that has adjusted to a 2.35:1 aspect ratio. We felt the movie was ready for it, so we decided to go the old Italian route and save money while adding a little bit of the graininess we like.Shooting ‘correctly’, 35mm is sometimes mistaken for a digital camera because the picture is too clean! But we followed the 2-perf step and saved money to shoot more material... However, why not do this? ! We are constantly challenging ourselves. Keep the brightness level at incredibly low levels at times. The objects we photograph are often bathed in color and it is difficult to focus on the shooting. Of course, there was no marking for the actors or cameras on the scene. It was definitely a real live performance, and the music couldn't be played repeatedly. ”
"Hikari"
Director: Naomi Kawase
Photography Direction: Arata Dodo
Arri Amira, Sony A7S
Dodo: "This camera has a very high sensitivity and can capture 'all light. ’”
《Jupiter’s moon》 (Jupiter’s moon)
Director: Kenel Mudluzo
Photography Direction: Marcell Rev
ARRI LT, ALEXA Mini
Rev: “Most of the videos are shot using film (Kodak 5219), and ARRI LT is used with a set of Master Prime lenses (95% of the videos are shot with a 21mm lens). There are some special camera installation situations where we had to use digital photography (ARRI RAW and pro-res together), and the Alexa Mini for size and flexibility reasons. In the early preparation stage of "
", Kenel and I have been thinking about how to build the world of the film. We decided to shoot on film because we wanted to create the ‘natural sense’ of the film world and create our own Budapest. We want to create this dystopian Eastern European city with dirty, rough texture and melancholy beauty, and film creates the sense of life and disorder we want. ”
《Loveless》
Director: Andre Sarkinsev
Photography Direction: Mikhail Krichman
Arri ALEXA
Krichman: "The reason for choosing this device is simple: I am very satisfied with the camera's sensors, services and status, and the rent of ARRI Alexa. ”
《The Meyerowitz Stories》
Director: Noah Baumbach
Photography director: Robbie Ryan
Arri 416, 16mm, Kodak 200t and 500t, Canon11-165mm Zoom Lens
《Okja》 (Okja)
Director: Bong Joon-ho
Arri ALEXA 65, Panavision Primo 70 Series
"Rodin" (Rodin)
Director: Jacques Duvalon
Photography Direction: Christophe Beaucarne
Red Weapon, Leica lens
Beaucarne: "Most of the videos are shot with 29mm, using two cameras, installed on STAB1 (or MOVI), this is a special gyroscope stabilization system that is easy to operate. We shot with two cameras at the same time because Jacques didn't want to cut a whole lens to pieces. For example, if we were to shoot a set of the same shots upstairs and downstairs, we would have two cameras on standby upstairs and downstairs at the same time. ”
《Free Square 》 (The Square)
Director: Ruben Ostrond
Photography Direction: Fredrik Wenzel
Arri ALEXA XTh
Wenzel: "This film uses Alexa XT to enable RAW format, matches with Master Primes lens, and most of them use 32mm. To me, Alexa feels more ‘neutral’ and may sound silly, unlike a decision after a decision. Ruben and I have hardly discussed which sample pictures to refer to, so starting from the cleanest picture should be the way we should go.
"Wonderstruck" (Wonderstruck)
Director: Todd Hines
Photography Direction: Edward Rachman
Arricam 35mm
Practice Craig Haagensen and photography director Edward Rachman were shooting scenes of "Marst in Silence"
Rachman: "For part of the filming, we have references to some expressionist films from the mid-to-late 20s, such as Agate's "Hotest Man " and Kim Vido's "The Mass". I used that stage of technology as much as possible.Todd and I realized that in the film " I'm Not There ", the exposure tolerance of black and white negatives and color film (or digital photography) are different; the particle structure is also different. And we wanted to shoot movies that were retro in that era, so for all the above reasons, I used filters and old-fashioned Cook Speed Panchro lenses. The other parts of the movie are set in New York in the 1970s and are colorful. We refer to the cinematography method of Irving Rozmann shooting "French Drug Network" to increase the graininess of the movie and use Cook and Canon K35s zoom lenses. ”
Special Screening/Non-Contest Unit
" Real Story Adapted " (Based on a True Story)
Director: Roman Polansky
Photography Direction: Pavel Edelman
Arri Alexa XTh
Edelman: "The film is starring Emmanuel Senier and Eva Green, telling the psychological game between the two protagonists. The actor will accompany the audience from the first shot to the last shot. We wanted to choose a camera that best presents subtle tones of human faces naturally and truthfully, and then we found that Alexa
XT did it. ”
《Carre 35》 (Carre 35)
Director: Eric Karavaka
Arri ALEXA
Arri ALEXA Mini, Super 8 Fuji Camera
Carvaka: “We use a Mini Alexa, with two good lenses, and an Anqin zoom lens. We also use Super 8 Japanese cameras. The other images were taken using 8mm, and a small Fuji camera; they used these two machines to take a lot of material. There are many different shots taken with these different tools. This coincides with one of the steps to make a documentary. Sometimes, I would take pictures of random things with a small camera. In that case, I was responsible for the art of photography and sound editing myself. However, we also use great tools to shoot beautiful pictures. When shooting, we always think about how to create a ‘movie feel’. ”
"How to Talk to Girls at Parties" (How to Talk to Girls at Parties)
Director: John Cameron Mitchell
Photography Direction: Frankie DeMarco
Arri Amira
DeMarco: "We shoot with Amira cameras because compared to other digital cameras, the color gamut and contrast range of Ali cameras are closer to film. "How to Chat Girls at Party" is the world's first film to be shot in both Super 35 and Super 16 formats, and this multi-format film experiment successfully switches Super 35 and Super 16 freely, becoming the feature of all Amira cameras. We shot flashy and exotic scenes with Super 35, while we shot grainy punk rock scenes in South London with Super 16. The two formats are mixed, and the effect is surprisingly good! We also used Super 16 Kodak film to shoot punk rock scenes and simulated the 1977 punk club material we watched and loved very much. ”
"Napalm"
Director: Claude Longzmann
Photography Direction: Caroline Champtie
Sony A 7S, Leica M Lens
Champtie : "I have to constantly fiddle with the aperture to make sure the image is clear. I want the picture to be as compact as possible and to look like my photography style. Everything is recorded on an SD card. ”
"Sea Sorrow" (Sea Sorrow)
Director: Vanessa Redgreve
Photography Direction: Andrew Dearden
Nikon D800
Dearden: "It is obvious that D800 should be used to shoot this film. Part of this is to save costs, and also to avoid the discomfort of some interviewees. Quick, simple, compact, but most importantly, it has a classic cinematic feel. We choose shallow depth of field and use natural light as much as possible, so that shooting is much easier. When lighting is needed, the low-light performance of the camera plays a big role. ”
"The Venerable W" (The Venerable W.)
Director: Barbert Schroeder
Photography Direction: Victoria Clay-Mendoza
Sony A 7
Clay-Mendoza: "Given its size and mass, we chose to shoot the project with it.Obviously the reason we wanted to shoot in 4K is to be released in cinemas. The filming and production of the project has always been a secret. Our international attention to the topic is absolutely not supported by the Myanmar government, so we decided to enter the country as tourists, visit monasteries and ask questions like tourists. So we have to be careful and the A7 makes it all possible. I carried a canvas bag, with a camera and audio equipment, and there was a telephoto lens in the bag as an occasional backup. I want to see me taking photos, but others will only think that it is an ordinary tourist taking photos. ”
《《》 (Come Swim)
Director: Kristen Stewart
Photography director: John Guleseria
Arri Alexa Mini, Red Dragon, Phantom Flex 4K camera
Arri/Zeiss Master Primes lens and Ultra Primes lens
Christen Stewart and photography director John Guleseria at the shooting scene of "Come Swim"
Guleseria: "We mainly use Alexa Mini ,The reason for shooting is that it can be used in studios and outdoor scenes, but in underwater scenes and ultra-slow motion, you can only shoot with other cameras. In order to shoot the film, we both need to set up stage sets and often go out, from deserts, beaches, highways to submarines. The Alexa Mini is the best choice for shooting most of these scenes. Generally speaking, I think how to use the camera and the camera position is more important than what camera to use, but there are some specific tasks to achieve, so we use Phantom to shoot super slow motion and Red Dragon to shoot various underwater scenes. ”
TV
"Top Of The Lake 2: China Girl"
Director: Jane Campion
Photography Direction: Germain McMicking
Arri Alexa XT, Alexa Mini, Leica Summilux C’s, Super Baltar, Panavision Primo Zoom Lens
McMicking: "After discussing the show with directors Jane Campion and Ariel Kleiman in the early days, we wanted to create a lyrical and textured picture, so we chose Arri Alexa. Alai's colors and contrast are soft, which can create a true sense of cinema and capture the actor's beautiful image. The large number of urban exteriors and laborious itineraries make the Alai system the first choice. The reliable Alexa XT is our main photography tool, and with Stenikon, it makes it easy to shoot super crowded interiors with the Alexa mini. ”
"Twin Peaks" (2017)
Director: David Lynch
Photography Direction: Peter Dyming
Arri Amira
Kyle McClarklan, "Twin Peaks" (2017)
No behind-the-scenes details have been confirmed. However, the news pointed out that the new version of the show was filmed using Amiras.
Director of the Biweekly Unit
" Bushwick " (Bushwick)
Director: Gary Mullion, Jonathan Milott
Photography Direction: Lyle Vincent
Arri ALEXA Mini
Vincent: “Alexa Mini is the best tool for this job because we want to follow the actors to shoot a complete scene, including action scenes and the transition from one space to another, and want to use Movi for smooth continuous shooting, so we chose to use ALEXA Mini. Movi has weight limits, so we can only choose the smallest camera. We tested all small cameras, and the excellence of the ALEXA Mini is not only its low-light performance in the ISO3200, but also its ability to stretch and resize later. With existing lighting methods and a large number of special effects in the later stage, it is very challenging to use any format. With ALEXA, we can capture all the information and achieve the cinematic effect we want. We use ProRes 4444 XQ format, 3.2K resolution, and 2.39 wide screen acquisition and shooting.”
《A Ciambra》 (A Ciambra)
Director: Jonas Capinano
Director: Tim Curtin
Arri 416, Arri SR3, Arricam LT (16mm)
Jonas Capinano and photography director Tim Curtin shoot "Roman Boy"
Capinano: "Photo director Tim and I have been working in southern Italy for more than six years, and each of them shoots with 416 or SR3. Tim is an excellent handheld camera, and these cameras are great for handheld shooting. It allows us to take aerial shots without any measurements, and shooting with these cameras is very lightweight and can be set up multiple times a day. Moreover, in the end we are also very satisfied with the texture of the movie, and nothing can replicate the image of super16. ”
"The Florida Project" (The Florida Project)
Director: Sean Baker
Photography Direction: Alexis Zabe
Panavision Millennium xl2, Arri ALEXA Mini, iPhone 6s Plus
Photography Direction Alexis Zabe at the shooting site of "The Florida Project"
Zabe: "There are several different camera settings for shooting "The Florida Project". The film was originally planned to be filmed on 35mm film; the softness and imperfection of the film after mechanical/photochemical processes helps to get the emotional reaction we want, just like a sour smell mixed in the middle of a fruity ice cream. Most of the videos were shot with Panavishen E-series lenses and Millennium xl2 cameras. Using the old E-series lens to turn the aperture up, it will create a creamy, slight retro feel. However, the pictures taken in the outdoor night scene without lighting are rough and hard, so only using AlexaMini to retain the ice cream-like image. In the event of insufficient exposure, the digital camera also has a great effect. There is a special long lens that we want to shoot completely different effects from 35mm film, so we used the iPhone 6S with Moondog Lab's deformation adapter to do it. Important tip: All digital materials need to be converted into 35mm negatives, so as to maintain the celluloid texture of the entire film. We live in an era of privilege that can provide filmmakers with a vast array of tools that never before seen. Let's take photos! ”
"I Am Not a Witch" (I Am Not a Witch)
Director: Rungano Nyoni
Photography Direction: David Gallego
Arri ALEXA Mini
Gallego: "We chose Mini because its sensor performance is great and can produce beautiful cinematic images. And it is very lightweight and is suitable for shooting scenes inside a bus. ”
"Mobile Homes"
Director: Vladimir de Fontenay
Photography Direction: Benoit Soler
Arri ALEXA Mini
Fontenay: "We know that this film is difficult to shoot. We need to complete the shooting in a limited time in mid-winter with children and animals involved, so we need to move freely and adapt quickly to the environment. My photography director Benoit Soler is an excellent handheld console who can improvise with the actors and is ready to shoot in the most unexpected places at any time. So we need a small, lightweight and versatile camera to achieve the above requirements, and the Mini also allows us to make some adjustments later. ”
"Patti Cake $" (Patti Cake $)
Director: Gremi Jasper
Photography Direction: Fede Cesca
Arri ALEXA Mini
Jasper: "The shooting schedule of this film is very tight, and we need to complete it quickly and agilely. My photography director Fede Cesca is a talented operator who likes to be involved in action at any time. We needed a lightweight camera that allowed us to capture live performances and the intimacy of the actors. ”
《Knight 》 (The Rider)
Director: Zhao Ting
Photography Direction: Joshua James Richards
Arri Amira, 3.2k pro res 4444, Zeiss Ultra Primes
Photography Direction Richards at the shooting site of "The Rider"
Richards: "Zhao Ting and I both know that we will shoot in many uncontrolled locations and will often challenge lighting conditions.This requires Amira to be versatile and ergonomic relief, which is very important for shooting such a shot. This is a lightweight camera with great balance on the shoulders and you will still get the highest image quality on the sensor, with excellent skin tone and dynamic range. Whether it’s shooting arena scenes, chasing horses through the wilderness, or shooting intimate clips in dim family scenes, Amira can do it. ”
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