Take a look at what goes into shooting an HBO show.<\/p>\n
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Game of Thrones<\/h3>\n![\"The](\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/03\/game_of_thrones_hbo_arri.jpg\" "\\"The")
<\/a>Game of Thrones set via HBO \/ ARRI.<\/em><\/p><\/div>\nThe Game of Thrones<\/em><\/a> series has primarily relied on the ARRI ALEXA but will, occasionally, use other cameras for VFX-heavy sequences or specialty setups. Fun fact: the ALEXA used in the first season was actually a prototype, as the camera had not yet been officially released.<\/p>\nGame of Thrones<\/em> Camera Package:<\/strong><\/p>\n\n- ARRI ALEXA<\/li>\n
- ARRI ALEXA Mini<\/li>\n
- RED EPIC DRAGON (of course it was a dragon!<\/em>)<\/li>\n
- Lenses\n
\n- Cooke S4<\/li>\n
- Angenieux Optimo<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
In regards to the look of the series, one of the shows first DPs Alik Sakharov revealed the following<\/a>:<\/p>\nThe tone of this series had to be a little bit more expansive than most TV shows. We didn’t want it to feel claustrophobic. We were, basically, trying to explore as many filmic possibilities as we could, and structure shots to create the depth and breadth of a feature film. I, also, explored the idea of under-lighting certain scenes, which allowed us to concentrate the eye on where the action is happening, as opposed to lighting everything in one, big wash of light. I have to say that the ALEXA was instrumental in getting this stuff. I never thought I would be singing praises to HD technology, and yet, there I was \u2014 utterly enamored by it.<\/p><\/blockquote>\n
As for the scenes using RED cameras, certain Iceland locations in Season 4 were unsafe for Steadicam operators. Cinematographer Robert McLachlan<\/a>\u00a0and crew turned to the carbon fiber 6K RED EPIC DRAGON, since the camera was light enough to be used with Freefly MoVI M10 rigs.<\/p>\nMore great reads on Game of Thrones<\/em> production:<\/p>\n\n- Game of Thrones\u2019 cinematographer breaks down the \u2018dragon-induced Armageddon\u2019 in The Spoils of War<\/a> \u2014 The Verge<\/em><\/li>\n
- ALEXA wins the “Game of Thrones”<\/a> \u2014 ARRI<\/li>\n
- DRAGONs on the set of Game of Thrones<\/a> \u2014 RED<\/li>\n
- Director Alex Graves Talks Shooting the \u201cPurple Wedding\u201d<\/a> \u2014 Collider<\/em><\/li>\n<\/ul>\n
For additional camera work, check out this behind-the-scenes look at Season 6.<\/p>\n
<\/a>Game of Thrones set via HBO \/ ARRI.<\/em><\/p><\/div>\n The Game of Thrones<\/em><\/a> series has primarily relied on the ARRI ALEXA but will, occasionally, use other cameras for VFX-heavy sequences or specialty setups. Fun fact: the ALEXA used in the first season was actually a prototype, as the camera had not yet been officially released.<\/p>\n Game of Thrones<\/em> Camera Package:<\/strong><\/p>\n In regards to the look of the series, one of the shows first DPs Alik Sakharov revealed the following<\/a>:<\/p>\n The tone of this series had to be a little bit more expansive than most TV shows. We didn’t want it to feel claustrophobic. We were, basically, trying to explore as many filmic possibilities as we could, and structure shots to create the depth and breadth of a feature film. I, also, explored the idea of under-lighting certain scenes, which allowed us to concentrate the eye on where the action is happening, as opposed to lighting everything in one, big wash of light. I have to say that the ALEXA was instrumental in getting this stuff. I never thought I would be singing praises to HD technology, and yet, there I was \u2014 utterly enamored by it.<\/p><\/blockquote>\n As for the scenes using RED cameras, certain Iceland locations in Season 4 were unsafe for Steadicam operators. Cinematographer Robert McLachlan<\/a>\u00a0and crew turned to the carbon fiber 6K RED EPIC DRAGON, since the camera was light enough to be used with Freefly MoVI M10 rigs.<\/p>\n More great reads on Game of Thrones<\/em> production:<\/p>\n For additional camera work, check out this behind-the-scenes look at Season 6.<\/p>\n\n
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