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EYE OF THE BEHOLDER With the jewel-like lighting of Bridgerton, the Premistas proved their worth
circular,” Blaubach explains. “Often, you get angular iris blades, so that becomes the shape. But the Premistas delivered a sharp, modern look with round, out-of-focus highlights. It was very impressive.” Shooting on a Sony Venice 6K, having three zoom options close at hand was both practical and time-saving. “You can’t just use any Super 35 lens, because they vignette. But with the Premistas, I could consider whether I was doing a long lens close-up, medium two shot or wide vista. It makes sense to have all three – plus, they’re well-built and the focal ranges aided
perfectly for exterior shooting, generating a high-contrast look that’s very malleable in post. No detail is lost, and I ended up using the zooms more than I anticipated. “Their versatility came to the fore on a scene that required snowy, arctic conditions. Scheduling forced it back to April, so Norway was the chosen location. We had to fight hard to make it happen, using a scaled-back, guerrilla-type crew. Just two cameras and two operators on snowmobiles, with all equipment in six backpacks. No flight cases or monitor trolleys were allowed. It was more of a documentary approach, and the Premistas delivered – even in -18°C.” Whether it’s a freezing blizzard or a high-society ball, Blaubach knows where to go. “In Bridgerton , Season 2, episode 3, Anthony Bridgerton (Jonathan Bailey) is by his father’s grave, talking to his mother. I noticed the focus fall-off, with some foliage glistening in the background. It had a magical, three-dimensional quality.” For a hands-on filmmaker with attention to detail, such gifts are a godsend.
us when doing crane shots in the air.” The 19-45mmT2.9 can be utilised handheld, with a Steadicam or other stabilising system – and even on a crane, delivering a new perspective to filmmakers. Blaubach has just finished working on Culprits – an upcoming Disney+ series starring Nathan Stewart-Jarrett, Gemma Arterton and Eddie Izzard. He was in it for the long haul – and so were the Premistas. “I finished up last month, having started in June 2021 – a massive project. It’s a heist drama set across three timelines, so the Premistas were ideal. They also worked
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WHEN IT ALL COMES TOGETHER There’s no way of predicting how exterior shots will come through on camera, but Anthony Bridgerton’s emotional graveside interaction with his mother had particular poignancy for Blaubach
33. AUGUST 2022
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