
IndieWire reached out to the cinematographers behind the nonfiction features premiering at the 2022 Sundance Film Festival, and asked 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 appear in alphabetical order by title.
“All That Breathes“
Section: World Cinema Documentary Competition
Dir: Shaunak Sen, DoP: Ben Bernhard
Format: 4K Canon Log/ V-Log
Camera: Canon Eos C500MkII, Panasonic S1H
Lens: Leica R Primes and Zooms, Angenieux 45-90mm, Canon 500mm and Macro
Bernhard: In “All That Breathes,“ our approach was always “to render the scientific into the poetic,“ as Shaunak puts it. 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. That’s why we chose a cinematic language that would keep the
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Films appear in alphabetical order by title.
“All That Breathes“
Section: World Cinema Documentary Competition
Dir: Shaunak Sen, DoP: Ben Bernhard
Format: 4K Canon Log/ V-Log
Camera: Canon Eos C500MkII, Panasonic S1H
Lens: Leica R Primes and Zooms, Angenieux 45-90mm, Canon 500mm and Macro
Bernhard: In “All That Breathes,“ our approach was always “to render the scientific into the poetic,“ as Shaunak puts it. 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. That’s why we chose a cinematic language that would keep the