No Sudden Move - Steven Soderbergh

[Mike Krumlauf]

Just saw it yesterday, by far one of steven's best since his oceans films! I know he shot the film on the komodo, but does anyone know what lenses he used?

 

[M Harvey]

Did he shoot on Komodo? Looks to me like a larger bodied DSMC2 camera. (I think that that's the media slot under the red sticker, and it looks like a DSMC-compatible monitor with only a single cable running into it.)

 

[Mike Krumlauf]

Did he shoot on Komodo? Looks to me like a larger bodied DSMC2 camera. (I think that that's the media slot under the red sticker, and it looks like a DSMC-compatible monitor with only a single cable running into it.)

I think you're right now that im actually looking at the photo. Wonder what body he used now too. I just figured komodo cause he usually stays with RED on their latest tech and had just shot Let them all talk on it. Silly me :b

 

[dio Zafi]

Red Monstro

he looks like he's having fun dp/director

 

[Nils J. Nesse]

I've never before seen a professional film shot with lenses that distort this bad, it was a huge distraction to the story...
So I'm very curious as to what exactly he used, and why...

 

[Bob Gundu]

I've never before seen a professional film with lenses that distort this bad, it was a huge distraction to the story...

These Kowa lenses are not made for large format but he clearly knew that and was an athletic choice.

 

[Nils J. Nesse]

These Kowa lenses are not made for large format but he clearly knew that and was an athletic choice.

Athletic as opposed to artistic...

 

[Brian F Kobylarz]

Read that he used Kowa Prominar Lenses with the RED Monster

 

[Bob Gundu]

Athletic as opposed to artistic...

Ooops

 

[Phil Holland]

Got a higher res for you to help with that, but that's not Komodo.

No Sudden Move was shot on Monstro with Vintage Kowa anamorphic lenses.

 

[Michael Hastings]

Something about the look bothers me - don't want to say "video-y" because it is too clean even for video. Always hesitant to say something does or doesn't look "filmic" because not sure what that means - but somehow it doesn't look "filmic" if that makes any sense. :wink5:

 

[Jacek Zakowicz]

The anamorphic craze is taking over the cine world ;-)

 

[Mike Krumlauf]

Got a higher res for you to help with that, but that's not Komodo.

No Sudden Move was shot on Monstro with Vintage Kowa anamorphic lenses.

Does Steven still buy all his gear or does he rent? I know hes purchased a few ONE bodies, an Epic but after that I lost track on if he still purchases all his camera bodies or rents now.

Either way, I liked the look of the film, its much better than Michael Mann's Public Enemies which was a period film shot digital (Sony F23 and Digiprimes) and man did that film look like utter trash! Not downputting the F23 or those lenses as i owned both at one point, beautiful kit.

 

[Phil Holland]

Does Steven still buy all his gear or does he rent? I know hes purchased a few ONE bodies, an Epic but after that I lost track on if he still purchases all his camera bodies or rents now.

Either way, I liked the look of the film, its much better than Michael Mann's Public Enemies which was a period film shot digital (Sony F23 and Digiprimes) and man did that film look like utter trash! Not downputting the F23 or those lenses as i owned both at one point, beautiful kit.

He like a few folks, myself included, owns and occasionally rents gear as needed. In this case it's one of his Monstros and he rented the glass from TCS New York, who are credited at the end of the film.

For the thoughts/critique on the distortion. Kowas have famously somewhat fisheye-like distortion on the wides. Many DPs love or hate that and there's not much room in the boat in the middle there over the years. Agree the film is pretty to look at. The wides were clearly a stylistic choice in my mind, didn't cry much about it. These lenses are far from new and have been widely used across all sorts of projects. So much so that modern Kowas are now a thing.

Steven wins the award for coolest shoes on a Fisher in recent years and he certainly makes the films the way he wants them to look in a whatever it takes sort of mindset.

 

[Nils J. Nesse]

These Kowa lenses are not made for large format but he clearly knew that and was an athletic choice.

So he shot the film on a much larger format (FF Monstro) than the lenses were designed for, and that's why we're seeing this extreme distortion in the edges of the frames, as well as extreme vignetting on the wide shots... ?

Bold choice. I really like Soderbergh as a cinematographer, for his bold choices, like the minimal crew/wheelchair-dolly ethos of his previous film shot on Komodo. But this time it took me out of the story and made me worry about the lenses.

 

[Mike Krumlauf]

I know there has been talk about Steven doing another oceans film. If it happens, I would be amazed to see what type of lenses he would use on the 4th film. I remember a long time ago when Oceans 13 was released that steven wanted to shoot 13 on the Red One but the cameras were not ready yet, hense CHE being his first RED film. I think an oceans film shot on RED would be dope!

 

[Vince Chavez]

Drink Faygo! Eat Better Made!
Oh and the movie rocks too.