Lawrence Sher has been known primarily for his work on comedies including Todd Phillips’ T he Hangover trilogy, Paul, The Dictator and I Love You, Man, before he reunited with Phillips to create the dark, sinister world of Joker. Whether they are using old-school filmmaking techniques or the latest technology, these cinematographers are creating brave new worlds for audiences and their craft. Mixing light sources has also been in vogue, with Lawrence Sher using harsh fluorescents and urban streetlamps to create the heightened eeriness of Joker and grittiness of the city. ![]() This is in part due to rapid advances in camera technology by companies like Arri, with films including 1917 utilising a large-format digital camera that, according to Deakins, is as good as any film camera. ![]() These and other top cinematographers no longer debate analogue versus digital, with plenty saying it is digital and film, rather than digital or film. Perhaps most complicated of all was Rodrigo Prieto’s “three-headed monster”, a three-camera set-up used to aid the CGI de-ageing process for Martin Scorsese’s The Irishman. Deakins pushed the boundaries of stabilising devices to enable extended tracking shots for the continuous-take approach of 1917, while Papamichael explored the limits of large-format cameras, putting them in positions that would have been impossible a few years ago (on a low mounted arm attached to a racing car, in one case). Rigging equipment has also been a common talking point for DoPs in 2019. Roger Deakins contended with real explosions and fires in Sam Mendes’s 1917. Robert Richardson used real Los Angeles backgrounds for the driving scenes in Quentin Tarantino’s Once Upon A Time… In Hollywood. Cinematographers are moving both forward and backward in technological terms this year, ironically in pursuit of the same goal: authenticity.Īvoiding VFX and instead opting to shoot reality has been a central theme.
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