IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited Series or Movie, and asked them which cameras and lenses they used — but even more important: Why were these these the right tools to create the look of their series? The nominees answers are aggregated below:
Outstanding Cinematography for a Single-Camera Series (Half-Hour)
“The End of the F***ing World”
Nominated Episode: Episode 2
Format: 4.5K Pro-Res 4444 XQ 16:9 crop
Camera: Arri Alexa LF
Lens: Zeiss Supreme Primes. 99% of the show was on 35mm, 50mm, 65mm. Zeiss CPZ Zooms.
Benedict Spence: From the beginning, director Lucy Forbes and I wanted the show to have an honest, minimalist, but very filmic aesthetic. Season 1, shot on Red, had a strong look but we wanted to push it further. We wanted a mixture of the starkness of the original graphic novel, and the filmic honesty of a ’90s Coen brothers-esque indie movie!
During prep Lucy and I created a 20-page rulebook, with everything from framing guidelines, to exposure rules, to white balance rules. And we stuck