Moonlight DP James Laxton speaks to Filmmaker Magazine about shooting the acclaimed movie with a distinctive saturated looks that enhances the milieu of 1980s Miami.
Laxton shot on the ARRI Alexa XT and explains that he recorded to ProRes in lieu of ArriRaw. “In our testing we found that the benefits of shooting Raw didn’t necessarily apply to what this film needed. The Alexa’s latitude (when shooting ProRes) was enough without going down the post-production path with Raw,” he says. “Another factor for us was how long we would have on the cards. Working with child actors and working with some people who were acting for the first time on screen, we wanted to be able to keep rolling and keep rolling to make sure we gave them the space to work the performances out. Sometimes on set there’s a momentum that you have when you keep going and going. And sometimes you can keep that momentum by not cutting in between takes and just re-setting, rather than cutting, having the AD call ‘roll camera,’ bringing the slate in, and all these other things that can hurt an actor’s momentum.”
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