![]() I wanted the characters to be in this mixed artificial environment. “When we meet Cassie and Luke in the first act, there’s very mixed lighting – blues and reds creating purple. Roe designed a plan that let the characters’ flawed anxiety and mixed emotion be captured with his lighting. And for the A camera, we would mainly use the 32mm and 40mm.” I could get as close as nine inches, which is great for details and textures that brought the film to life. “It was my hero lens for close ups and dialog scenes. “The S7/ i 65mm was my go-to lens on the B camera that I was operating,” said Roe. In addition, Roe used his personal Cooke Panchro/i Classic set of 18mm, 25mm, 32mm, 40mm, 50mm, 75mm and 100mm for the film’s B unit, and would double up with the 100mm from both lens ranges when needed. “I wanted everything the lens could give me.” “I really wanted to max out those cameras for the Cooke S7s,” said Roe. With lens testing completed at Keslow Camera in Los Angeles, Roe would have the camera and lens rental house supply him with a set of Cooke S7/i FF Prime Lenses consisting of the 18mm, 21mm, 25mm, 27mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm and 135mm for two – and sometimes three – of the original Sony VENICE cameras shooting full frame, 17:9 X-OCN ST (eXtended tonal range Original Camera Negative standard quality) with a 2:1 matte. That told us what lens we wanted to be on, and after doing my lens tests, the S7s just stood out.” “We wanted the cameras to be subjective, feel the depth of the space, like the camera work is being done with the characters. We talked, watch other films, figured out what we wanted to achieve, and I got started on my look book.”įor Purple Hearts, Rosenbaum and Roe wanted the cameras to be “with” the characters, according to Roe. Liz and I work really hard on trying to bring the text to screen in an honest and human way. Putting that type of story on screen just happened to be a story that I’ve always wanted to do. “It was about two broken and flawed characters trying to find a path to moderation by putting up with each other. ![]() “During post on Sneakerella, Liz sent me the script for Purple Hearts,” explained Roe. Rosenbaum and Roe had previously worked together on a number of back-to-back projects, their most recent before Purple Hearts was the Disney+ feature Sneakerella, which Rosenbaum directed and Roe lensed. But when tragedy strikes, the line between real and pretend begins to blur. In spite of those many differences, Cassie, a struggling singer-songwriter, and Luke, a troubled Marine, agree to marry solely for military benefits. ![]() Purple Hearts tells the story of Cassie (Sofia Carson) and Luke (Nicholas Galitzine) who couldn’t be more different. And whether it’s full frame, S35 or anamorphic, the Cooke 65mm is my favourite focal length.” It’s almost like a smooth circular pattern that glides your eye to the character and then to the rest of the frame without being distracted by overly sharp areas while maintaining detail. With a close focus range, faces just project depth, the out of focus falls off. It’s because of the way Cooke lenses render tones and have this three-dimensional plane. ![]() “They were with me on my first TV show, my first major studio film production, and on most narratives I’ve shot. “Cooke lenses have been my lens of choice since I started doing narrative projects,” said Roe. That decision helped Purple Hearts to become number seven in Netflix’s Most Popular Films List just 28 days after its release on July 29 with 220.6 million hours watched, as well as becoming the number one film on Netflix in the UK within one week of its premiere. Roe selected the Cooke Optics S7/i FF Prime Lenses for what is commonly referred to as the Cooke Look®. Netflix’s independent feature Purple Hearts, directed by Elizabeth Allen Rosenbaum and lensed by Matt Sakatani Roe, certainly proves that an indy-budget film with a captivating story and compelling photography can compete with films budgeted in the hundreds of millions of dollars. ![]()
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