Oscar-Nominated Cinematographers on Using Classic Techniques and Old Tech for a Modern Feel

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It’s quite unexpected that as we’ve progressed a fourth of the way through the 21st century, with home streaming becoming the main method for movie distribution by studios, cinematographer Lol Crawley has received an Oscar nomination for “The Brutalist,” a film shot using VistaVision – a widescreen film process created by Paramount Pictures in 1954 to draw audiences away from their home TVs and into theaters.

Similar to films like John Ford’s “The Searchers,” Cecil B. DeMille’s “The Ten Commandments,” and Alfred Hitchcock’s “Vertigo,” VistaVision was created as a rival to 20th Century Fox’s CinemaScope. Unlike CinemaScope, which used an anamorphic lens to squeeze a widescreen image onto regular 35mm film stock, VistaVision achieved its wide format by using larger-than-standard film stock.

According to Crawley, instead of drawing the film straight down in a movie camera, it’s actually moved sideways across eight perforations simultaneously. This results in a larger format, which means that you have more flexibility when choosing lenses – you don’t necessarily need wide-angle lenses for a broader view.

Greig Fraser, nominated for an Oscar for his work on “Dune: Part Two” directed by Denis Villeneuve, employed contemporary digital cameras (Arri’s Alexa Mini LF and Alexa 65) that are suitable for the Imax presentation process, a newer large format technique. However, he opted for traditional daylight to create a natural and authentic feel for the movie’s most difficult scene – a thrilling sandworm journey, filmed over a span of 44 days – using old-fashioned methods.

Fraser notes that when watching the film, you’ll seldom encounter individuals who are front-lit. Instead, people will mostly appear backlit, giving it an enchanting feel. This technique is used, and it often works. In this case, it was crucial that the sun originated from a single direction, as it’s easily noticeable due to the illuminated side of the sand dune contrasting with the shaded side. This means we couldn’t manipulate the placement of the light source.

Newcomer Paul Guilhaume crafted the lighting plan for “Emilia Pérez” to harmonize with its main character’s emotional journey. Initially, he immersed scenes in shadows, mirroring the hidden intentions of drug lord Juan “Manitas” Del Monte (portrayed by Karla Sofía Gascón), who seeks anonymity and a gender transition. As Emilia’s transformation commences, and the cartel boss embarks on her new identity, the lighting brightens, symbolizing her growing strength and hope. However, in the climactic third act, the film plunges back into darkness again.

As a movie enthusiast, I can attest that in Robert Eggers’ haunting reinterpretation of the 1922 silent masterpiece “Nosferatu,” Jarin Blaschke, the acclaimed cinematographer, skillfully manipulated camera angles and lighting techniques to leave me discombobulated and uncertain about what eerie spectacle would unfold next.

In the initial appearance of Count Orlok (portrayed by Bill Skarsgård), the scene is designed with significant space and darkness beyond the staircase, according to Blaschke, who was previously recognized for his work in Eggers’ “The Lighthouse” in 2020. This creates a fragmented image of him. As we ascend, he disappears again. Then, he reappears as a distinct shadow against the fire.

In the movie “Maria” by Pablo Larrain, about the last weeks of renowned soprano Maria Callas (played by Angelina Jolie), cinematographer Edward Lachman opted for a flexible camera and an assortment of film types – 35mm color for the primary storyline, 35mm black-and-white for her recollections, and 16mm for her creative visions – to bring to life the extravagant theatrics of an opera performance.

In the movie, Lachman points out that opera isn’t required to be realistic; instead, it focuses on emotions. With his three previous nominations but no wins, he aimed to establish a more intense version of reality in both color and movement within the storyline, making viewers feel immersed in her world.

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2025-02-13 20:48