"Moonlight" shot on Alexa XT w/ Hawk V-Lite Anamorphics

[JPNola]

Shot in ProRes and not RAW, interestingly enough.

More here:


http://filmmakermagazine.com/100603-a-one-camera-show-dp-james-laxton-on-moonlight/#.WLPPWneVTdQ

here as well, with an interesting webpage format that displays moving video throughout the article:

http://www.vogue.com/projects/13514953/moonlight-cinematographer-james-laxton/

 

[Grug]

It was certainly an interesting looking film, I think they did a fantastic job of keeping the camera very subjective. And the crunchy grade seemed to work for it too.

As for it shooting Prores, there's very few low-budget films that can afford the extra costs shooting uncompressed raw. It isn't just a matter of buying more harddrives - it's the extra man hours (and overtime hours) involved in data management, striking proxies, data storage (and redundancies) at the post house handling the film, slower grading/effects work due to the larger files (and again, the man hours attached to that).

I've just been through that same discussion on a little feature I've got coming up soon. Pushed for raw on the Alexa (on principal) but with tight resources, it's a tough battle to win. Sadder still was coming VERY close to securing a set of vintage c-series Hawk anamorphics, then having to switch back to spherical at the 11 hour

 

[spinkscapes]

It was certainly an interesting looking film, I think they did a fantastic job of keeping the camera very subjective. And the crunchy grade seemed to work for it too.

As for it shooting Prores, there's very few low-budget films that can afford the extra costs shooting uncompressed raw. It isn't just a matter of buying more harddrives - it's the extra man hours (and overtime hours) involved in data management, striking proxies, data storage (and redundancies) at the post house handling the film, slower grading/effects work due to the larger files (and again, the man hours attached to that).

I've just been through that same discussion on a little feature I've got coming up soon. Pushed for raw on the Alexa (on principal) but with tight resources, it's a tough battle to win. Sadder still was coming VERY close to securing a set of vintage c-series Hawk anamorphics, then having to switch back to spherical at the 11 hour

One of my favourite cinematic moves is The Hundred Foot Journey which was shot on some old Hawk V-Lite Vintage '74.
The image was just so beautiful.
Pity you were unable to use the old Hawks for your project.