In Broadcast - February 2020 - 50

50

www.inbroadcast.com | Vol: 10 - Issue 2 | February 2020

InTech

Cooke S7/i Steps Close Up for 'Cuba'
Director/Producer/Cinematographer Peter Chang broke with the tradition of IMAX and giant-screen
presentations by adding close-ups for the portrait-oriented sections of the award-winning film Cuba...

C

hang, known for his IMAX to see how far we could push it with
and
giant-screen
work
as our ballerina to gain more intimacy."
cinematographer
on
Jerusalem
and America Wild: National Parks Pleasing Pairing
Adventure, has completed his latest
Chang, and his co-DP Justin Henning,
film, Cuba, which won the Best had the full set of 12 lenses at their
Documentary award at the 34th Annual disposal, though they primarily used
Fort Lauderdale International Film the 18mm. "I teamed the Cooke S7/i
Festival and has begun releasing to lenses with the ARRI ALEXA LF camera,
museums, educational institutions and which is a phenomenal combination,"
other giant screen and IMAX venues.
says Chang. "It gives me a very
Chang first used the Cooke S7/i large cinematic and dreamy look - very
format lenses on a project in early smooth and gentle, but still crisp and
2018, having tested them for giant- sharp. Cooke lenses have always been
screen use on that project. Based on very flattering with faces and people,
those results, they became frequently so for the portrait-oriented sections of
Cuba focuses in part on a young ballerina
used lenses on the final and mostly the film this pairing was magical."
for any lens. In challenging backlit
narrative centric shoot in Cuba - the
The Cooke S7/i primes were also a situations shooting into the sun, the "It's a good timeframe to embrace
personal stories - while breaking with great choice for Henning. "The lenses flare is beautiful and natural, bringing all the new technologies available.
the IMAX and giant-screen standard of were very sharp, something extremely added dimensionality, and I tried to We used a total of 18 different digital
avoiding close-ups.
important at the resolutions and IMAX exploit that with these lenses during camera formats in the capture of this
"Cuba
is
focused
shooting,
like
when film."
on the beauty, spirit
the ballerina trains on
Chang's use of the Cooke S7/i lenses
and character of this
the beach as the sun is for the character scenes did, in fact,
Caribbean country and its
setting," says Chang.
pay off as a part of what makes Cuba
people," says Chang. "One
such an engaging film for audiences.
of the primary stories in
Festival Opening
"For portraits and beauty shots
the film centres around
With a wide release the lenses worked incredibly for us,"
a young ballerina. I was
scheduled for 2020, Cuba says Henning. "The lenses are slightly
really looking forward
is shaping up to be one warmer than other comparable lenses,
to using the Cookes as
of the most anticipated which makes the skin tones look
we knew we would be
IMAX and giant screen gorgeous. Because we were shooting
shooting on stage with
releases. The film was for IMAX our lensing was typically
challenging
theatrical
recently selected as the very wide - usually around 18mm.
stage
lighting,
and Cooke S7/i large format lenses were used for portraits
opening night film for But the combination of the Alexa LF
breaking that sort of giant screen IMAX screens we are shooting for, while the Fort Lauderdale International and the S7/i lenses gave us a nice
norm of not having any close-ups. maintaining a creamy bokeh and very Film Festival, where it received great separation between our subjects and
That's exactly what we did - shot some pleasant roll off," he says. "What I reviews, including from members of backgrounds.
close-ups of her face, which came out loved most about shooting the Cooke the large Cuban American population
He adds: "Balancing the intimacy
beautifully."
S7/i lenses is the familiarity that they of south Florida. It is primarily of character and the surrounding
There are, however, challenges in gave me. I've shot on Cooke lenses for available with a 44-minute run time, environment is one of the main
shooting close-ups in terms of framing years, starting with the Speed Panchro, but a 20-minute version has been challenges shooting for IMAX. The
for such a large image, based on how it then the S4/i lenses and most recently made available for a select number of patina of Havana and the extra warmth
is projected.
a lot with the new Cooke SF [Special venues.
of the Cooke lenses paired really nicely
"IMAX has flat screens that are Flair] Anamorphic/i. Cooke lenses have
"I've been working on this project together."
typically used for 3D, and you also always been a go-to for me. On Cuba I since December 2014" says Chang.
"On IMAX and giant screens, the
have dome theatres where you're had the pleasure to shoot
Cooke images hold up
looking at the bottom half of a 1.43 on the Alexa LF in full
really well - both in
image and then the rest of it is over frame for the first time,
terms of image quality
your head and you're not typically and the fact that the Cooke
and emotional impact,"
looking at that," explains Chang. "A S7/i lenses maintained the
says Chang. "Audiences
close-up has to be framed in that 'Cooke Look' that I have
have cried when seeing
bottom half or third of the image. With grown accustomed to over
our more emotional
an image as big as we're projecting - the years was great - but
scenes. The combination
at times, 90 feet x 65 feet or more - a on this new full frame
of characters, stories,
close-up can be rather jarring because camera system, it was a
setting,
music...
you can see a lot of the imperfections real treat."
everything
comes
on people's faces, you can see the
"I really love the way
together for Cuba, and
makeup on their skin and blemishes these lenses flare, an
Cooke was an important
Chang's film brings to life the character of the country and the people part of that."
that can be unattractive, but I wanted important consideration


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In Broadcast - February 2020

Table of Contents for the Digital Edition of In Broadcast - February 2020

Contents
In Broadcast - February 2020 - Intro
In Broadcast - February 2020 - Cover1
In Broadcast - February 2020 - Cover2
In Broadcast - February 2020 - Contents
In Broadcast - February 2020 - 4
In Broadcast - February 2020 - 5
In Broadcast - February 2020 - 6
In Broadcast - February 2020 - 7
In Broadcast - February 2020 - 8
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In Broadcast - February 2020 - Cover3
In Broadcast - February 2020 - Cover4
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