To supplement Matt Mulcahey’s interview with Roger Deakins about shooting Blade Runner 2049, check out ARRI’s interview with the legendary DP. Watch: Roger Deakins on Personal Connection through Cinematography.Sony Large Format CMOS Sensors: Global Shutter vs.The weapon of choice is ARRI, due to its clean look, and minimal to zero flaring, vignetting and breathing.Įxplore Deakins thoughts in this excellent video below: That’s why he prefers shooting spherical over anamorphic. Deakins can’t stand lens artifacts (flares, vignetting, and breathing). We wrote about it before, when we covered the making of 1917. Picture credit: Unknown (contact us for the credit) Clean look, without wisecracks Lubezki shoots extremely wide, compared to Deakins that shoots more naturally. As opposed to The Revenant’s Lubezki who used very wide lenses (around 15mm) on the huge sensor of the ALEXA 65, which granted a tremendous wide look with a rare shallow depth of field. Deakins is not a fan of very long lenses, nor ultra-wide ones. For portrait, he likes using 60mm-70mm but not more than that. As explained, 1917 was shot within this focal length. The preferred focal length on Deakins is around 40mm, which mimics the human eye. That’s why he prefers shooting spherical over anamorphic, and on ARRI lenses.

Universal Picturesĭeakins can’t stand lens artifacts (flares, vignetting, and breathing). BTS of DP Roger Deakins, Charlie Rizek, and the ARRI Trinity in 1917. That’s another reason why moving the camera is preferred comparing zooming. Furthermore, the tech assists you to move the camera, as the camera is more compact and the form factor si much more gimbal-friendly. According to Deakins, they used only one prime lens (which is hard to believe since recourses indicate that the focal length in 1917 was around 30mm-50mm shooting on the ARRI Signature Primes), BTW, 1917 was shot on the ALEXA Mini LF which is a large sensor camera that grants the privilege of enhanced motion (a positive side effects when shooting on large sensors).

Technologiesĭeakins says that nowadays, the technologies allow the camera to move like never before, and that advantage produces more sophisticated kinetics. The preferred focal length on Deakins is around 40mm. Roger Deakins Talks About the new ALEXA Mini LF. That amplifies the movement even further, makes it more cinematic than just zooming. Also, in primes, you can’t zoom, but move the camera when framing. He prefers primes, since a constant glass forces you to change camera location, and thus makes you spend more thinking about the shooting angle. zoomsĭeakins touches on the never-ending debate: Primes vs.

Roger Deakins on the set of The Company Man. In other words, Deakins prefers his glass clean, simple, and native. To sum it up within a sentence: Primes preferred, clean look (no breathing, no vignetting, and no flares), and a natural focal length (around 40mm-50mm). In this cool episode by StudioBinder, We’re getting exposed to Roger Deakins’s preferences regarding cinema lenses.

Roger deakins