{"id":2911,"date":"2016-07-11T16:00:00","date_gmt":"2016-07-11T23:00:00","guid":{"rendered":"https:\/\/ww3.ambientskies.com\/arri-alexa-xt-brings-free-state-of-jones-to-life-on-the-big-screen\/"},"modified":"2023-02-24T12:50:40","modified_gmt":"2023-02-24T19:50:40","slug":"arri-alexa-xt-brings-free-state-of-jones-to-life-on-the-big-screen","status":"publish","type":"post","link":"https:\/\/ambientskies.com\/blog\/filmmaking\/arri-alexa-xt-brings-free-state-of-jones-to-life-on-the-big-screen\/","title":{"rendered":"Arri Alexa XT brings ‘Free State of Jones’ to life on the big screen"},"content":{"rendered":"

When you think about the 1800s and the Civil War, a digital camera probably doesn’t come to mind. <\/p>\n

But the future of Hollywood is here, and it’s taken the form of the Arri Alexa XT. <\/p>\n

Out of all of the film’s that have touched on the war between the Confederacy and the Union, Free State of Jones<\/i> manages to travel into the grey area of the civil war and stick up for the southern residents that were opposed to the confederacy. It was a breath of fresh air in a sea of recent films whose settings take place in the south and revolve around racial tension. <\/p>\n

Part of the success of the film can be attributed to the humble, straight forward cinematography that keeps you engaged in the moment and doesn’t stop to gloat or show off.<\/p>\n

Let’s take a look at how old meets new inside the movie.<\/p>\n

<\/p>\n

Arri Alexa XT brings ‘Free State of Jones’ to life on the big screen<\/h2>\n

Director Gary Ross scored with his adaptation of this inspiring true story. Ross has written and directed such films as Pleasantville, Seabiscuit<\/i>, and The Hunger Games<\/i>. He made his break in the eighties writing the classic film Big<\/i> starring Tom Hanks and more recently is set to direct Ocean’s Eight<\/i>. <\/p>\n

Teaming with him on Jones<\/i> is French cinematographer Benoit Delhomme. This pairing is sure to yield incredible results and sure enough, he and the team delivered.<\/p>\n

 \"Arri<\/p>\n

Delhomme’s known for films such as The Theory of Everything<\/i>, 1408<\/i>, and The Boy in the Striped Pajamas,<\/i> all of which have their own unique visual style. <\/p>\n

His choice to use the Arri Alexa XT seemed to fit the tone of the film. <\/p>\n

The film had minimal digital smear which is hard to get away from under certain lighting conditions, but for the most part, I was unable to distinguish whether it had been shot on film or digitally. <\/p>\n

Delhomme told Panavision<\/a>, <\/p>\n

\n

‘My first inclination was to shoot with anamorphic lenses. I still consider the range of anamorphic lenses from Panavision as the very best in the market. Gary was tempted at first, but changed his mind very late in prep. He decided he wanted to shoot 1.85 and spherical to keep that idea of documentary style. He was afraid that anamorphic would create too much of a ‘cinema look.’…Well, when Gary stopped the anamorphic options, I thought about using Panavision’s vintage, or legacy, lenses. I am a huge fan of the Ultra Speeds and of the Super Speeds. I wanted to shoot all with primes, but I quickly realized that, with Gary, I needed to be covered with zooms, too, so I ended up with the whole range of Primo zooms. I had to mix together vintage, Primos and zooms of all sorts!<\/i>‘<\/i><\/p>\n<\/blockquote>\n

 <\/p>\n

\n