{"id":151716,"date":"2021-03-23T08:00:00","date_gmt":"2021-03-23T13:00:00","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=151716"},"modified":"2021-03-22T16:43:11","modified_gmt":"2021-03-22T21:43:11","slug":"cameras-sxsw-film-festival","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/cameras-sxsw-film-festival\/","title":{"rendered":"The Variety of Cameras Used at the SXSW Film Festival 2021"},"content":{"rendered":"\n

We chat with the filmmakers of the 2021 SXSW Film Festival to explore the variety of they cameras used and why.<\/span><\/h2>\n\n\n\n

A year after SXSW\u2014the storied interactive music and film festival in Austin, Texas\u2014was shuttered at the last minute in March 2020, the festival is back online! While similar to last year in that the film portion is 100% virtual, this year the show runners had more time to plan. Plus, the festival also came on the heels of a successful virtual Sundance Film Festival<\/a> to help guide its way.<\/p>\n\n\n\n

Like years past, the 2021 SXSW Film<\/a> slate offers a filmic smorgasbord of indie features, shorts, midnighters, episodic premieres, and even VR cinema. Fittingly, for those interested in film and filmmaking, it\u2019s a fascinating case study into how these filmmakers were able to produce, write, shoot, and edit their unique projects. Let\u2019s hear from several SXSW filmmakers specifically about the cameras they used for their SXSW films, and how they were able to help bring their stories to life.<\/p>\n\n\n\n

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Sony Venice: Violet<\/em> (2020 Spotlight)<\/span><\/h3>\n\n\n\n
\"Actress<\/a>
Olivia Munn<\/a> starring in Justine Bateman<\/a>‘s<\/em> Violet<\/a>, an official selection of the 2021 SXSW Film Festival. Image via SXSW<\/a>. <\/em><\/figcaption><\/figure>\n\n\n\n

We shot the whole film on a Sony Venice with the Rialto sensor block extension (we would remote the camera brain or a grip would wear it on a backpack when we were moving). The whole package was provided by Keslow Camera. For lenses, I decided to go with a complete set of Leica .08 lenses. They are modified still camera lenses that most people are familiar with from the Leica M cameras. They are compact, fast, and have beautiful warmth and contrast like all Leica glass. They were also the smallest lenses available that cover the 6K sensor. Having an extremely small form factor, (large format) setup was crucial for a couple of reasons. <\/p>– Mark Williams<\/a>, Director of Photography<\/cite><\/blockquote>\n\n\n\n

We don’t have to go into a deep explanation as to why 2020 was a weird year for cinema overall. Festival indies and big-budget blockbusters all had their premieres put on hold. One unique quirk to the SXSW Film Festival this year is the inclusion of several of these films and shows from 2020, which are getting another shot at the spotlight. One of the biggest features at SXSW 2021 is the much-anticipated world premiere of Violet<\/em>, directed by Justine Bateman and starring Olivia Munn.<\/p>\n\n\n\n

Shot on a Sony Venice<\/a>, director of photography Mark Williams worked with mostly Leica lenses, as well as using a variety of Ronin 2 Gimbals<\/a> for much of the action and movement. He also reports that, after plenty of testing, he and Bateman recorded in the Sony OC-XT format for “the most options in post, as it has a nice, neutral feel.” You can see one of their gimbal setups in the behind-the-scenes image below, which showcases how they were able to get such a blockbuster-style look with a small crew setup.<\/p>\n\n\n\n

\"Violet<\/a>
Violet was written and directed by Justine Bateman. On-set photographs by Steven Meiers Dominguez<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n
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ARRI Alexa Classic: “Plaisir” (Narrative Short)<\/span><\/h3>\n\n\n\n
\"Plaisir\"<\/a>
“Plaisir<\/a>,” written and directed by Molly Gillis<\/a>, an official selection of the 2021 SXSW Film Festival. Image via SXSW<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

We used a combination of digital and film for “Plaisir” on the ARRI ALEXA XR and the personal Bolex 16mm camera of Melanie, our DP. We wanted to explore what the daydream landscape could look like by mixing the mediums. We had such limited resources (both crew and budget) that we couldn’t afford big lights. So, with Melanie’s collaboration, we studied the sun during a week of prep and built our shooting schedule around where the best natural light landed around our location. We shot on Panavision prime lenses, thanks to the help from the team at the Panavision Marseille outpost in France.<\/p>– Molly Gillis, Director<\/cite><\/blockquote>\n\n\n\n

Many of the films at SXSW experiment with ways to further blur the lines between digital and film, as was the case with Molly Gillis’ narrative short “Plaisir.” Telling the story of “a lonely American who faces unrequited love on a farm commune in the south of France,” Gillis’ “Plaisir” was shot on an ARRI ALEXA XR<\/a>, as well as on an old-fashioned Bolex 16mm film<\/a> camera while traversing the scenic fields and gardens of the French countryside.<\/p>\n\n\n\n

You can see Gillis’ crew at work mounting the ARRI ALEXA XR in the image below, which features the film’s DP Melanie Akoka<\/a> and AC Hanna Mundal<\/a>. Gillis says she ultimately shot about 75% of the film on the ALEXA, with 25% shot on the 16mm for a more personal effect and feel. The final results are stunning, whimsical, and do a wonderful job of combining the best of both cinematic format styles.<\/p>\n\n\n\n

\"Plaisir<\/a>
DP Melanie Akoka and AC Hanna Mundal on “Plaisir” set.<\/em><\/figcaption><\/figure>\n\n\n\n
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Blackmagic Pocket Cinema Camera 4K: “Sisters” (Narrative Short)<\/span><\/h3>\n\n\n\n
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