Tomorrowland director Brad Bird needed some convincing to not shoot his epic film on IMAX film, and cinematographer Claudio Miranda was on-hand to inspire confidence in digital.
Miranda tells American Cinematographer, “He wanted a sharp, big image for a 4K release, so I would have needed to be at 200 ASA on film. 15-perf 65mm was great for daytime, but it fell apart in low light — and besides, it would have been impractical to shoot this kind of movie with Imax cameras. We also had all these visual effects, and I was planning to use lots of low-level lighting and practical lighting tricks. In these tests, you saw the strength of digital with available light. Tomorrowland is not about being soft and mushy and squishy — it’s really about an Imax-type, big-negative experience. The [Sony] F65 was the best option for achieving all our various needs.”
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