DEFINITION’S CAMERA LISTINGS
During the filming of heavy courtroom drama, The Trial of the Chicago 7 , DOP Phedon Papamichael relied on the large format Arri Alexa LF to shoulder much of the weight. With it, he paired a familiar lens choice: a set of extended anamorphics from Panavision. “Expanded anamorphics give you a beautiful fall off in the depth-of-field and a widescreen aspect ratio, with a classic anamorphic lens and vignetting,” says Papamichael. “I pioneered it on Ford v Ferrari [entitled Le Mans ’66 in Europe and the UK] because it suited the story, which is not too dissimilar from the story of the Chicago 7, with its multiple characters and themes of togetherness and friendship. I could rake through crowds of people to pick up groups of characters in clusters, which is something I felt was important to do here, with so many key characters among a crowded courtroom.” He adds: “Sorkin initially wanted to use a long lens for close-ups, but I convinced him that getting physically close with a wide lens would allow us to get an intimate close-up, all while capturing the presence and the emotions of the surrounding characters.” BIG DRAMA ARRI ALEXA LF BASED ON:
SPECIFICATION
SENSOR – FORMAT AND SIZE
Full-frame CMOS, 36.70x25.54mm – 4448x3096, ø 44.71mm
Arriraw: 0.75-150fps ProRes: 0.75-100fps
FRAME RATES
LPL, PL
LENS MOUNT
4448x3096 Arriraw and ProRes 4.5K open gate and 2.39:1, 3840x2160 Arriraw and ProRes 16:9
RECORDING OPTIONS
14+ stops from EI 160-3200
EXPOSURE LATITUDE
44 DEF I N I T ION | DECEMBER 2020
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