In a recent interview, Adam Kimmel, ASC, revealed an unusual approach he took in one of his most recent shoots, a CNN / Netflix comedy show. Kimmel, A well respected Cinematographer (Director of Photography (DOP/DP) for many years, is always happy to share his perspective and the benefit of his experience with his peers and students. Learn more about the renowned cinematographer and his work at the following link: Adam Kimmel DOP.
While the approaches to stand up comedy shoots are relatively well established and have been for quite some time, Adam Kimmel has demonstrated once again that innovation is always welcome in the industry. During a recent shoot for Colin Quinn's Red State, Blue State, Kimmel opted to work with Arri's Alexa LF cameras, complemented by their signature primes. While this combination produces an outstanding image, with immersive, large-format aesthetics and the possibility of shallower depth of field, it is an unusual approach for a stand-up show.
Despite this, Kimmel followed through with this approach, saying, "It might not be the typical way to shoot a live stand-up show, as you might usually lean toward the versatility of zooms and cameras that are mobile. However, because we staged this in a theatre in the round kind of set up, I didn't want people who were seated right on the stage and just five or six feet away from Colin to be distractingly in focus. I felt that the content and style of what Colin was doing lent itself to staging it with him working much closer to and surrounded by the audience, and with a more fixed and observational camera style. Because of that, as well as the benefit of the shallower focus of the LF and prime lenses, I gave up the flexibility of zooms and moving cameras and, I must say, I'm quite pleased we went this way." Learn more here: Adam Kimmel, Director Of Photography.
Using this combination of cameras and lenses was not an easy task. Five Alexa LF's and two sets of Signature Primes were sourced from ABLE Cameras in New York. "These Signature primes were still entirely new and hard to get, so we had to plan how to work with five cameras and only two sets of lenses for a live show. "I was very considerate of my placement of cameras and choice of focal lengths as I didn't want to be changing prime lenses in the middle of the show. Also, since we were shooting 360° and I didn't want to see other cameras, it made sense to keep the profiles more compact and the cameras more fixed. Director Bobby Moresco was pleased with the look, and the coverage I was able to give him and everyone involved seems to love how the show turned out."
Using the larger format cameras and lenses also facilitated certain aspects of post production, "I asked DIT Dave Satin to adjust the frame lines so I would have a frame within the sensor that allowed me some room over and under the picture, and that way I could make slight adjustments to the framing to smooth out the cuts in the edit. When you have five cameras all shooting one person, I'm quite sensitive to things like the differences in the head room or where the eyes are in the frame. By having a little room to adjust - I could smooth out anything I felt was jarring."
He also expects upcoming releases of new equipment to facilitate similar productions going forward, as he says, "I've been to the demo of the ALEXA Mini LF and can't wait for those cameras to be more available. Still, I have to say this one all went so well, thanks in no small part to Mike Nichols and AbelCine's support. It was a lot to ask on short notice, and I felt taken care of."
Adam Kimmel has been a member of the Academy of Motion Pictures Arts and Sciences since 2007 and the American Society of Cinematographers since 2008. He has shot over 16 feature films, receiving two Independent Spirit nominations and a BAFTA shortlisting for best cinematography. His filmography includes Bennett Miller's Capote (5 Academy Award nominations including best picture and the best actor win for Phillip Seymour Hoffman). He is also known for Lars and The Real Girl, Never Let Me Go, and Jesus' Son, as well as a currently untitled Bennett Miller project.
Those interested in learning more about Adam Kimmel can read the article published by Jax Media on their blog. It contains the essential part of the interview, along with additional comments from other members of the production. More information is also available here: Adam Kimmel American Cinematographer.
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