Picture credit: Kevin Baker, Netflixĭark Crystal: Age of Resistance was shot using five of the specially modified RED DRAGON 4K at 2.2:1 with a Kipper Tie Gold Diffusion OLPF Cinematographer Erik Wilson Cooke Anamorphic/i lenses Furthermore, because of the large sensor and the desire to shoot anamorphic, the Cooke Anamorphic glass was chosen. “Everything becomes a bit sharp with 4K, and the filter helped with that,” said Wilson. RED Digital Cinema designed a 1:1 ratio square extraction mode (4320 x 4320) from which to extract (de-squeeze) the anamorphic image created by Cooke Anamorphic/i prime lensesĭark Crystal: Age of Resistance was shot using five of the specially modified RED DRAGON 4K at 2.2:1 with a Kipper Tie Gold Diffusion OLPF. Especially-made RED Dragon 8K VV Anamorphic. Indeed, Leterrier had made a successful proof of concept using a RED DRAGON (was suited better than Monstro and Helium for that purpose) and asked RED Digital Cinema to design a 1:1 ratio square extraction mode (4320 x 4320) from which to extract (de-squeeze) the anamorphic image created by Cooke Anamorphic/i prime lenses. We did one lock-off a shot in the whole series, and it never even made it into the final cut! Cinematographer Erik Wilson RED Dragon VV AnamorphicĪccording to DIT Jonathan Petts, Dark Crystal was shot entirely on Dragon VV with one shot on an A7s underwater (see on-set picture below). Picture credit: Kevin Baker, NetflixĮvery single shot is moving. We did one lock-off a shot in the whole series, and it never even made it into the final cut!” Shooting The Dark Crystal: On-set. ”I always imagined that the puppets would be hiding behind a table, and we would be filming them with a static camera, but that couldn’t have been any further from the truth. “I always knew it wasn’t going to be a small thing, but I still came to the project completely unprepared for the scale of it and was in awe of the aspirations for it,” says Wilson. Shooting started in November 2017 in a converted warehouse at Langley Studios in Slough to the west of London, with Louis Leterrier directing and Erik Wilson shooting. The result was a look for the show that transformed the puppets and, in the words of cinematographer Erik Wilson, made them “more majestic” and “forgetting that they’re puppets.” Shooting The Dark Crystal: Picture credit: Kevin Baker, Netflix Dynamic cinematography (Every single shot the camera moves) When it came time to return to the world of Thra and reimagine the Dark Crystal movie for a whole new generation on Netflix, unique filmmaking tools were utilized. The original Dark Crystal is one of the most iconic movies of the 1980s, a dark-themed fantasy that took the puppetry skills that the Jim Henson Company had honed in over a decade of producing Sesame Street to the big screen for big audiences. Picture credit: Kevin Baker, Netflix “You forget that they’re puppets.” Cinematographer Erik Wilson explains the creation process from a technical point of view. In order to get the majestic imagery of Netflix’s Dark Crystal, a unique combination of the Cooke Anamorphic glass with specially made RED Dragon was used.
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