That said, each season had been shot on a different sensor anyway. At the time in 2016, there wasn’t a 4K ALEXA option. Originally, the decision to shoot RED for the show had a lot to do with Netflix’s 4K requirement. When it comes to the choice of camera for the fourth season, Caleb talks about the move from RED cameras to ARRI ALEXA LF and explains why the first three seasons were actually shot with RED in the first place. While I definitely recommend reading the whole interview over on the Filmmaker Magazine website, I decided to highlight the most interesting bits in my article here. In a recent interview for Filmmaker Magazine, Caleb (who shot seven of the nine episodes) talks about working on the show for the Duffer brothers. After the original DP Tim Ives did not return to the show this time, the fourth season’s cinematography work was shared by three DPs – Caleb Heymann, Brett Jutkiewicz, and Lachlan Milne. While the story definitely is what drives every show, there are also a few interesting technical background stories that we, as a cinema tech news and reviews site, are interested in. The series came back this year with the penultimate season four. Stranger Things has been without a doubt one of Netflix’s hottest TV shows in recent years. Caleb also talks about how COVID affected production, and how they lit certain scenes and performed longer “oner” shots. He explains why the show moved from RED Monstro with Leica lenses to ARRI ALEXA LF with a mix of vintage glass from the ’60s. It's a great choice for anyone looking for that hands-on experience.In a recent interview for Filmmaker Magazine, DP Caleb Heymann (Fear Street trilogy) talks about shooting Netflix’s Stranger Things season four for the Duffer brothers. A good 35 mm film camera can accept many modern lenses and still give you the look and feel of film. The 35 mm is the classic in both film and digital cameras for a reason. They are a fantastic choice for art photography. They also offer four times the resolution of 35 mm cameras so you can produce much greater enlargements without losing detail. It's not cheap, and you only get twelve shots per roll but this larger format film takes pictures that are closer to the human eye than anything else ever produced. It's hard to go wrong with a medium format camera. General condition matters a lot, as does the lens. If light gets in you're going to find yourself ruining a lot of film and it's not cheap. Look at the shutter mechanism, it's delicate and has to work right every time. What to Look ForĬondition matters with all collectables, but with vintage cameras it's especially important, as there are a number of factors that can turn a great camera into a dud. Luckily film for most 35 mm and medium format cameras is still readily available. Depending on the camera you may have to modify the film yourself or even hire a company to produce custom rolls if you have a rare enough camera. It's easy to find film for vintage 35 mm cameras from a number of sources but some other formats are harder to find. One of the most important concerns when looking at vintage cameras is the availability of film. They offer an analogue view of the world that often more closely represents the human eye than digital. Film cameras are fundamentally different than digital cameras in how they see the world and the images they put on the print. For photography that means moving away from digital colour and toward black and white film. No matter what the field, the further technology advances the more some people fall back on its predecessors.
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