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AFI FEST 2016: What Cameras Were Used to Shoot This Year’s Films

Filmmakers in "New Auteurs" and "American Independent" categories explain why they picked their particular camera.

"Live Cargo"

“Live Cargo”

Live Cargo

Indiewire reached out to the filmmakers with films in the “New Auteurs” and “American Independent” sections of this year’s AFI Fest to find out what cameras they used and why they chose them.

READ MORE: AFI FEST 2016: 14 Movies We Can’t Wait to See at the Festival

“One Week and a Day”
Arri Alexa XT
Dir. Asaph Polonsky: “It allowed scenes in long takes and the use of zoom lenses, sticks, dolly, Steadicam and handheld, were the tools that served the D.P., Moshe Mishali, and I the most as we tried to be subtle about reflecting the characters journeys visually.”

“Dark Night”
Arri Amira with Cooke lenses
Dir. Tim Sutton: “Good combination.”

“Divine”
Red Dragon
Dir. Houda Benyamin: “We wanted to work on the idea of focus — getting to details from the big picture, getting to things from a distance, which in a way symbolizes the heroine fight between inside and outside worlds. The distance also highlights her desire for recognition and upward mobility, like a gap between her and the unreachable.The DOP Julien Poupard chose Zeiss T2.1. lenses. As for the photography we were not looking for full precision: we were interested in the flares and accidents you get with these lenses. We had a 25-250 Angenieux zoom lens, which is pretty old.”

“The Future Perfect”

“The Future Perfect”
Blackmagic Pocket Cinema Camera
Dir. Nele Wolatz: “The best image we could get in relation to our low budget and being a very small crew.”

“Kati Kati”
ARRI Alexa Plus
Dir. Mbithi Masya: “We had a very limited lighting and grip package so we needed a camera that would give us as much flexibility as we could get working with natural light and high contrast exterior scenes.”

“Hunter Gatherer”
ARRI Amira
Dir. Josh Locy: “It has all the features and range of the regular Alexa, but it is lighter weight that allowed for quicker moving and easier handheld.”

The Eyes of My Mother

“The Eyes of My Mother”

Magnet Releasing

“The Eyes Of My Mother”
RED
Dir. Nicolas Pesce: “We shot on the RED. Shooting digital RAW files gave us the flexibility and control we wanted and needed to achieve such a stylized look.”

READ MORE: ‘Moonlight’ Glow: Creating the Bold Color and Contrast of Barry Jenkins’ Emotional Landscape

“Live Cargo”
ARRI Alexa and the RED
Dir. Logan Sandler: “For our lenses we had the Zeiss Ultra-Primes. Shooting digitally was necessary for us. The workflow associated with shooting film would have been almost impossible considering our remote location.”

“Oscuro animal”
Arri Alexa
Dir. Felipe Guerrero

Anita Rocha da Silveira's "Kill Me Please"

“Kill Me Please”

“Kill Me Please”
Alexa PLUS
Dir. Anita Rocha da Silveira: “It was the camera we could afford, but at the same time provides a great skin tone and an easy workflow.”

“Still Life”
RED Dragon
Dir. Maud Alpi

"Buster's Mal Heart"

“Buster’s Mal Heart”

Chris Pound

“Buster’s Mal Heart”
RED Dragon
Dir. Sarah Adina Smith: “We wanted a really clean, crisp look.”

“Donald Cried”
Sony FS7.
Dir. Kris Avedisian: “It’s an all around great camera.”

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