'Oppenheimer' Cinematographer Hoyte van Hoytema on IMAX and Not Using CGI
The Big Picture One of the many reasons Christopher Nolan’s filmography is revered in the industry is due to his well-known affinity for IMAX and 70-millimeter film. His most recent feature dominating the box office this summer, Oppenheimer, pushed those limits, maxing out what IMAX film platters can do in the extraordinary biopic.
HOYTEMA: I geek out over my machine shop. I have a CNC machine, a lot of metalworking things. We build a lot of stuff here in the garage. One of the things I'm fascinated by are the various processes that people make movies. For example, Ridley Scott will shoot with six cameras or seven cameras, and Roger Deakins will shoot with just one, and that's it. I'm curious, how often are you just using one camera on set, and how often do you like to do coverage?
HOYTEMA: As I said before, as a lot of it is very much pulled out, we also work a little bit with our intuition there. That intuition is also very much led by the idea that we just wanna shoot as much as possible on as rich as possible negative. So, we love shooting as much as possible on IMAX. And also, in this film, the more intimate the situation got, the more sort of up close and personal things got, the more we want to get in there with an IMAX camera.
So you can imagine how much power and inertia and how big [of] motors you need in order to do that, and how aggressive your mechanism has to be to every time stop that frame on the dime. That's the reason that that camera is so loud and it's so bulky and it's so heavy. It's just physically, it's very heavy, and it's very difficult. So, there you have the problem. I would love it to be as silent as a nothing, but it's very challenging to get it there.
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