![]() ![]() In all, there were 28 minutes shot in IMAX (including the astonishing six-minute bank heist prologue that immediately conveyed the immense scale of Gotham City). ![]() However, Nolan wanted to embrace large format in a big way, and so this became the first mainstream feature to be shot with the IMAX 65mm camera, which launched the IMAX revolution. Pfister shot primarily in Kodak 35mm with Panavision Panaflex Millennium XL and Platinum cameras. But the cinematographer also introduced brightness in surprising ways, such as when Batman (Christian Bale) flips on the light switch during his brutal interrogation of Joker. The second part of Christopher Nolan’s “Dark Knight” trilogy was a turning point in his career and in his collaboration with cinematographer Wally Pfister, elevating a DC superhero film into a gritty crime drama with gravitas. Fittingly, Pfister chose a color palette that emphasized green and blue in keeping with Joker’s look. “Zodiac” marked the maturation of digital cinematography as its own distinct paintbrush that could create its own unique beauty while fitting in with Hollywood production values. ![]() Every bit as evocative but more realistic than traditional stylized noir cinematography, we could just make out details in Savides’ dark corners of the frame - the perfect look for Fincher’s documenting of the elusive search for a real-life serial killer. ![]() Savides abandoned the hard shadows of low-key lighting, trading in strong directional lighting sources for more even, low-wattage, practical sources where the light slowly curved into darkness. With “Zodiac,” David Fincher and Savides created a different type of noir look. Savides was the master of milky blacks, doing incredible work with low contrasts to create a unique look that cinematographers are still trying to emulate today. The late Harris Savides didn’t want to shoot “Zodiac” digitally, but he proved to be the perfect cinematographer to take the medium to the next level. “1917” “All These Sleepless Nights” “Antichrist” “Birth” “Black Swan” “Bright Star” “Burning,” “Collateral” “Decision to Leave” “The Diving Bell and the Butterfly” “Dunkirk” “The Fall” “Fire Will Come” “The Fountain” “The Grand Budapest Hotel” “The Grandmaster” “The Great Beauty” “Her” “Isle of Dogs” “Ixcanul” “Killing Them Softly” “La La Land” “The Last Black Man in San Francisco” “Let the Right One In” “Leviathan” “Lust, Caution” “Macbeth” “The Master” “Melancholia” “Midsommar” “Neon Bull” “New World” “No Country For Old Men” “No Time To Die” “Pan’s Labyrinth” “Parasite” “The Prestige” “Renoir” “The Revenant” “Rush” “Sicario,” “Silent Light” “Spectre” “Spring Breakers” “Tragedy of Macbeth” “The Turin Horse” “Uncut Gems” “Under The Skin” “What Lies Beneath” “Wonderstruck” “Y Tu Mama Tambien” “Zama” 60. Ranking cinematography is, in some ways, a fool’s errand given the broad variety of genres, resources, and intentions encompassed by the films below, but these are 60 titles that IndieWire believes will stand the test of time. It’s also the first to be spearheaded by the IndieWire Craft team, which has grown considerably since this list was first published. In 2017, IndieWire made a list of the best shot feature films of the century thus far the list was updated in 2020, and what follows is the third and most extensive version of the list. The art of cinematography, however - using light, color, and texture to express ideas and elicit emotional reactions from the audience - remains intact. The technology of cinematography has undergone some of the most seismic shifts in film history this century, with what began in the 2000s as an almost entirely photochemical process transforming into the digitally captured, manipulated, and projected images of today. ![]()
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