20 Cinematographers You Should Know at Cannes 2019

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“Malick wanted us to be explorers, able to shoot like a documentary crew, mostly with natural light,” Widmer told IndieWire. “We were always looking for backlight, for which we needed lightweight cameras with lenses, which could take a lot of contrast without flaring and with a huge range of latitude. The actors should be able to move quite freely and keep their energy. We prepared the cameras in a setup, which allowed us to change from steadicam to slider or handheld in less than a minute. The takes could last from four to 40 minutes without a break. In interiors, we switched to the low light camera to capture as much as possible of the dark interiors in the rural homes, stables and prison cells.”
See the full list here.