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By Sarah Shachat and Jim Hemphill
Sundance cinematographers break down the camera, lenses, and look of the scripted feature and documentary films premiering at the 2023 festival.
Every year, IndieWire reaches out to the cinematographers behind the films premiering at the 2023 Sundance Film Festival, and asks which cameras, lenses, and formats they used, and why they chose them to create the looks and meet the production demands of their films. Here are the responses from filmmakers who brought scripted narrative features to the festival; check back tomorrow for a survey of the 2023 documentary lineup.
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“The Fishbowl”
Dir: Glorimar Marrero, DoP: PJ Lopez Format: 4.5K Arriraw Camera: Arri Alexa Mini LF Lens: Zeiss Supreme Radiance
Lopez: During the beginning of prep, specifically when doing the first readings, the director and I realized that we needed to tell the story handheld to achieve a special intimacy with our characters. We chose the Alexa Mini LF for its compactness and good 4.5K resolution. At that moment we had a camera! Then, we needed a lens set that provides texture and keeps us close to our actors without the need to use focus diopters, and that was when we found the Zeiss Supreme Radiance at PJ Gaffers Camera Division. We also did tests with the Leica R but the Radiance gave us the texture we wanted and the natural flares that the story was looking for. To complete our look we used a very natural style of lighting that was not very invasive to achieve a look more towards a documentary style. This is what our movie “The Fishbowl” is about: Camera in hand behind our main character who is in the process of dying, reuniting with herself.
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