The cinematographer

Edward Berger

and to create this feeling of that we are there with them. And then James gave me the wonderful, James the cinematographer gave me the wonderful tip to let's just concentrate on one shot at a time, because otherwise we're gonna go insane. And that really helped me to not get bugged down with the whole of it, just to say, all right, this is the shot, we'll do this, and once we have it, we take it off the list, we'll do the next.

1:14:40 · jump to transcript →

Edward Berger

the cinematographer, the wonderful cinematographer. So Tribe7 lenses, and we had another set, I think another set of Panavision lenses. So there's a lot of mixing going on, but each had its purpose. This is a scene that very much symbolizes the Prussian sort of war ethos, the Prussian soldiers.

1:31:38 · jump to transcript →

Edward Berger

after we had done a tech recce or after we'd done some tech checks there, I wanted to drive home and I couldn't find my cinematographer. He wouldn't show up in the car. And so I get out of the car and suddenly it's getting dark. Suddenly hear this voice going, help, help, help. And we go to the field, we go to this battlefield and oh, I love this shot. This is some VFX.

2:14:15 · jump to transcript →

- Don't know. I hope you'll notice... I hope everyone noticed that the employee of the month mostly is Charlie, played by Billy MacLellan. But go ahead. Sharon is the... Go ahead, Ilya. So the cat lady, the receptionist, that was Sharon. We had a bit of a faux pas where we were supposed to shoot her scene right here in this reception where Charlie is standing. And we arrived and we painted it the wrong color. And it's the only time during the production where Pawel, the DP, and I were like, "Nope, can't shoot it here. "We gotta repaint these walls. Let's go..." We found that spot, and while we were shooting, Bob, remember, on one of the takes, she hit... She was so into beating the crap out of the ceiling, the tile fellon you guys as you walked past. Yeah.

12:11 · jump to transcript →

He's off singing and I'm burning down his whole fucking everything that he has. I love the final look that you give as you walk away. That was a late find. We had to really dig deep in the dailies to find this moment. That's, for me, the best part of the montage. That one look, perfect. Well, you made me look great. And so did Pawel Pogorzelski. Pawel. - We were very lucky to have Pawel Pogorzelski, who was our DP on this film. Great man. Sweet man. - Great talent. Brilliant, brilliant artist. And super fun to work with. Like, just honestly, one of the most fun DPs I've ever had the pleasure of working. I wanna say that Pawel... The great DPs don't need a lot of lights to work. I've had some of them on Breaking Bad and Better Call Saul, but Pawel, I think, wins the award for working with minimal equipment.

1:08:29 · jump to transcript →

And props to Greg Rementer and Larry who was... I forgot Larry's last name, but Larry who was a DP, who did second unit on films like Top Gun, so he's got quite an experience. And they had to shoot... So we shot all the stuff with you, and then we went off to do more dialogue scenes. And quite a bit of this was done by Greg on the coldest possible Winnipeg night. Brutal. Yeah. The second unit was shooting at night, we were shooting day, so I went over after... I think it was one of the kitchen scenes that we shot. I went over afterwards and it was just... You know, I had two jackets on, three pairs of pants, snowboarding pants... it just... It was so cold that you really felt it in your bones. Not just the saying. It really was that bad. So the fact that they were able to pull all this off and, you know, Stick to the storyboards when needed to, and step away and do slightly their own thing... - I'm super excited by how great they did. - Yeah. Yeah. As a director, you're like, "I don't wanna have second unit," but you have to. There's no other way we can get this filming done in days. Very important that he pulls into the owner's spot 'cause he bought the place. I think it's very important. It's... It matters to him. Jesus. That car is a wreck now. His neighbor's not gonna like that. Here they come.

1:14:20 · jump to transcript →

Nia DaCosta

So here you can see a bit, 'cause of the way Jimmima was moving just then in that scene, that the shutter angle is changed. It's not sort of a standard angle. And that's something that Danny did in the first film. Whenever the infected were attacking, the shutter angle would change, the image would appear more choppy to the human eye. And... Sean Bobbitt, my DP, and I, we really wanted to use that, in a way. It was really the only visual reference from the other films that we took. But because, again, we're starting this film with the Jimmies as the real mortal threat, we thought the Jimmies and the infected should have the shutter angle change when violence happens. And this is the first infected of the film coming up, which, again, wasn't written in, but we added, 'cause we were like, "We need infected." And I like infected scenes and things like that, so, yeah.

6:42 · jump to transcript →

Nia DaCosta

I really love the way Sean Bobbitt, the DP, does moonlight, and it really speaks to me as someone who loves mercury vapor lighting. I just think it's really beautiful. So, you have this mix of this, like, greeny light and this orange firelight, which I think is really beautiful. Here's the sound of the train over the moon.

39:03 · jump to transcript →

Nia DaCosta

I see. When I watch this scene, I just think about Sean Bobbitt, my cinematographer, really intensely focusing on the grass and, like, wanting, like, singular blades of grass to be removed or added to the foreground, which I really enjoyed.

1:10:17 · jump to transcript →

is faithfully recreated by our animation cinematography team and Eric Adkins, our animation DP, so that, you know, every one of those shadows is timed to a tree passing or whatever, but it's then programmed on the animation stage with a flag or a kookalurus to be, you know, enhanced frame by frame. That is insane. And perfectly matched with the background.

34:54 · jump to transcript →

worked so hard with me and Jarin Blaschke, the DP, on being able to articulate our vision. And with the horse falls and all this stuff, I mean, it was a nightmare. And we spent, I don't know how many times we visited this location with a viewfinder, restaking all these buildings so that they would all be built in such a way that we could achieve this shot and move the dolly through it and have enough room for the horses and see down the different alleyways to get enough depth.

26:53 · jump to transcript →

that tends to paint you into corners. I really wanted the movie to tell me what its look was, and obviously I want every mission to feel different. And Chunky Richmond, our camera operator, Fraser Taggart, cinematographer, Martin Smith, our gaffer, we were finding the look of the movie, of the sets, here on day one, and this was the first shot, was Carrie's close coverage. And what you're seeing

16:48 · jump to transcript →