When the American Society of Cinematographers hosts its 37th annual awards bash on March 5 at the Beverly Hilton hotel, the lucky people in the room will rub shoulders with an astonishing assemblag…
” , chose the large-format Alexa 65 camera from Arri for its ability to bring epic stories to life. Yet she tempered it with depth of field to create intimacy when the scene required it. Plus, she custom-adapted Petzval lenses to create vortex effects and add texture to flashback scenes in which a character is feeling the effects of drugs or other disorientation.
“That style goes back to classic studio cinema – Howard Hawks and films like that,” says Mullen. “It maintains a sense of environment. You’re not shooting a lot of closeups with out-of-focus backgrounds, where you don’t feel where you are anymore. You hold back on close-ups, and when you do use one it has more dramatic weight.”
Michos adds that the very nature of scripts has changed in television. “’Cabinet’ was a limited series with stand-alone episodes,” he says. “Twenty years ago, when it was three networks and stories were essentially episodic and open-ended, budgets were driven by a paradigm of commercially supported programming. But now entire films are being presented in actual stand-alone narrative format.”
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