What Kind Of Cameras Were Used In The 1970s For Tv Shows

Emmy-nominated cinematographers tell us how they chose the cameras and lenses that created the look.

IndieWire reached out to the cinematographers who received Emmy nominations for Outstanding Cinematography for a Unmarried-Camera Series (Ane Hour), Single-Camera Series (Half-60 minutes), and Limited Series or Film. We asked them which photographic camera and lenses they used and why they were the correct tools to attain their testify's unique look.

Cinematography for a Single-Camera Serial (One Hr)

The nominees for outstanding cinematography in this category are Adriano Goldman ("The Crown"), Colin Watkinson ("The Handmaid's Tale"), James Hawkinson ("The Man in the High Castle"), Tod Campbell (Mr. Robot"), John Price ("Sense8"), Tim Ives ("Stranger Things") and Paul Cameron ("Westworld").

Last Year's Winner: James Hawkinson for "The Man in the High Castle"

"The Crown"

DP Adriano Goldman on the set of "The Crown"

Alex Bailey/Netflix

Cameras: Sony F55s
Lens: Old Cooke Panchros rehoused by TLS UK

DP Adriano Goldman: "Netflix requires a 4K workflow, so I started by testing cameras that could provide that. After comparing a few, we felt that past combining the F55 and vintage lenses, plus light diffusion filters, we could attain a rich, soft and kind of romantic period look. The Sony F55 proved to exist very reliable, very light, and easy to piece of work with. The Cooke Panchros deliver a very warm and filmic look. And working together with the art and costume section was key to discover a palette and command color saturation — that's also a very of import element of the overall mode of 'The Crown.'"

"The Handmaid's Tale"

Elizabeth Moss and DP Colin Watkinson on the set of "The Handmaid'south Tale"

George Kraychyk/Hulu

Camera: Arri Alexa Mini
Lens: Canon K35 primes, Zeiss T2.1 primes. Canon K35 Zoom.

DP Colin Watkinson: "Choosing the camera with Reed Morano, director of episodes one-iii, was an like shooting fish in a barrel choice. For color reproduction and the depth in the shadows we wanted, we both favored the Alexa. The lens pick took a little longer. What we agreed on from the starting time was that we wanted to shoot on older lenses. We knew we needed to tie two distinct shooting styles together and lenses with grapheme would assist us do that. The flare fashion – along with other lens characteristics – that exists in the earth of Gillead likewise exists in the flashbacks, hopefully giving a subconscious link that the worlds are connected. I already knew the Canons very well and was keen to employ them in a much darker environment and was pleased with the results."

"Sense8"

"Sense8" DP John Toll

Murray Shut/Netflix

Camera: Sony F-55
Lens: Zeiss Ultra Prime lenses, and Fujinon 19-ninety zoom lenses

DP John Toll: "The choice of this camera and lens combination was based on several factors. The quality of the image and the Netflix 4K requirement were the most important considerations, followed closely past the flexibility of the unabridged camera and lens system.

Creatively, we adopted a sense of immediacy and a fluid visual style. The eight main characters, although living in dissimilar parts of the world, were in constant interaction and experiencing a total range of emotion. In a gimmicky timeframe, our stories ranged from quiet intimacy to large-calibration action. Both seasons of 'Sense8' were shot entirely on practical locations and we shot well-nigh exclusively on Steadicam or handheld with 'A' and 'B' cameras. We found the combination of the F-55'due south with the Zeiss and Fujinon lenses worked extremely well in this context.

The eight principal characters all lived in different cities in several countries. We were constantly traveling internationally and bringing our camera equipment with the states. On Season 2, we shot in 14 different cities in 11 countries in N and Southward America, Europe, Africa, India, and Asia. The meaty size and portability of our photographic camera organization was extremely constructive, both creatively and equally an efficient production and scheduling factor. Based on the success of Season 1, we pushed this manner fifty-fifty further in Season 2. Creative style and overall scheduling decisions were heavily influenced by the choice of our camera and lenses."

"Westworld"

"Westworld" DP Paul Cameron

John P. Johnson/HBO

Photographic camera: Arricam Lite and Arriflex 235 (35mm film)
Lens: Leica Summilux-C Primes, Fuji Premier Zooms, Canon K-35

DP Paul Cameron: "Within a few minutes of my initial meeting with managing director/creator Jonathan Nolan, information technology was determined that the 'Westworld' pilot would be shot on 35mm film. The expectation for a large-dscreen cinematic feel was there from the onset. We wanted a specific elegance and authenticity to the image. Small, lightweight Arricam Lite and Arriflex 235 cameras in 3 perf configurations were used to photograph the pilot. Leica Summilux-C Primes and Fuji Premier Zooms were the master lenses. Canon M-35'due south were used for the host dream sequence, calculation a detail softness and flare quality to assistance separate the vibe from main storyline. I must acknowledge that this was one of my favorite projects to work on. The opportunity to exist a part of the conceptualization stage was empowering, as well equally to accept that much creative input with the director and production designer that early on in the process."

Article Continues On the Adjacent Folio: Limited Series, from "Blackness Mirror" to "Fargo"

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Source: https://www.indiewire.com/2017/08/emmy-2017-camera-nominated-cinematographers-1201868305/

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