A standard set includes 27, 35, 50, 65, 80, and 105 mm focal lengths. According to Vantage: “Unlike lenses that adapt existing elements to fill larger sensors without improving resolution, Vantage One4s have been designed for the purpose from the ground up, thus delivering full optical power to bigger sensors”. The Vantage One4 is a line of spherical lenses. We’re doing car chases with just streetlights” said Gorka to Vantage, which is the company that manufacturers the glass. I’m shooting in very dark spaces at stop 2.0 and everything looks fantastic. Picture: Netflix Vantage One4 lenses: “Spherical glass for large format”ĭP Magdalena Gorka shot season two on the ALEXA Mini LF at 800 ISO with the Vantage One4 glass. Also, a larger sensor absorbs more light, and that’s critical when shooting in the dark. Moreover, for closeups, large-format sensors have their advantages since they allow the usage of narrower lenses when close to the object, which results in a more flattering portrait. In the second season, the majority of the shots were performed in a bunker, and thus cameras that offer a large field of view were needed. For instance, in season one, most of the sequences were done inside a plane which is a tight space. For this kind of shooting, the most logical option was choosing large format cameras. The second season was filmed by DP Magdalena Gorka who utilized fast lenses. As explained, 99% of the story is been told at night, and thus, was shot in low light environments, with almost zero help from the sun, as the sun is the enemy here. The first season was shot on the Sony VENICE and the second season on the ARRI ALEXA Mini LF. The cinematography is outstanding and it’s merged with unique storytelling and engaging characters. I’ve watched both seasons and I highly recommend them. Continuing their quest for survival with the military members in the bunker, they attempt to manage a brewing conflict and find a solution to the diminished supply of resources. In the second season, the remaining survivors secure their path to a NATO bunker, where they seek refuge from the deadly rays of the sun. The group must deal with fuel shortage, irradiated food, hidden agendas, and other problems in their race to reach an underground military bunker. The group – led by Mathieu (Capelluto), the pilot, and Sylvie (Pauline Étienne), a passenger – must work together to keep the sun behind them. The plane heads west in an attempt to survive this catastrophe that kills all living organisms during daylight hours. The handful of people in the aircraft became some of the survivors of a deadly global event that results from exposure to sunlight. He forces his way onto the commercial aircraft and demands an early take-off. The hijacker was an Italian NATO soldier. The first season follows a group of people whose plane is hijacked while they are onboard a red-eye flight from Brussels. One of the special characteristics of the series, regarding cinematography, is the fact it was mainly filmed… well, in night situations. The second season premiered on September 8, 2021. It is Netflix’s first Belgian original series. The series premiered on Netflix on May 1, 2020. Into the Night is a Belgian apocalyptic sci-fi drama thriller streaming television series created by Jason George. Shot on ALEXA Mini LF and Vantage One4 Into the Night Since the whole series was shot at night, ‘Into The Night’ constitutes a solid case study for low-light cinematography. The second season was shot by DP Magdalena Gorka on the ARRI ALEXA Mini LF paired with Vantage One4 lenses. Since the second season of Netflix’s ‘Into the Night’ was premiered a few days ago, we’d like to take this opportunity to talk about the making.
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