More than 20 years after the first digitally shot film was nominated for an Oscar, the decision of whether to shoot film or digital is still surprisingly fraught in some situations — and is having …
Also in the conversation are Roger Deakins , Robert Richardson and Mihai Malaimare . Many cinematographers admire the work in “Just Mercy,” shot by Brett Pawlak, and not to be counted out are John Toll, a two-time Oscar winner who shot “Harriet,” and Dion Beebe, who shot 4K 120 frames-per-second 3D for Ang Lee’s “Gemini Man.” Lee calls it the future of cinema, noting that the clarity of the image allows the audience to sense more fully the character’s thoughts and feelings.
“Each format has pros and cons,” Sher says. “You want to make the decision aesthetically, in terms of what it can bring to the film, but I always resisted switching if there were caveats — like, ‘You can shoot this, but when you shoot exteriors, you have to make certain accommodations.’ The Alexa was a game-changer for me, but I think Todd is still challenged by the transition. He’s starting to see the benefits, but we really struggled on ‘Joker.
Malaimare blended two formats in the same film, a technique that is becoming more common, and which is made practical by digital cameras. For “,” he used Hawk anamorphic lenses and spherical T1 lenses from Vantage film, manipulating the stop on the sphericals to make transitions more seamless. Rather than using the latest car-action techniques, he and director James Mangold were inspired by classic large-format racing films from the 1960s including “Le Mans” and “Grand Prix.” The goal was to bring the audience into the cockpit.
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