Camera Setup:
š¹ ARRI Alexa 35, RED Komodo (for two rig shots) all managed by AC. Nick Kelling
š KOWA Cine Prominar TLS-rehoused - ZEISS Super Speeds MKII T1.3 - ANGENIEUX Optimo Ultra 12x 26–320m
Lighting: Primarily natural light, practicals, candles, firelight enhanced with custom built rigs
made by Gaffer Kevin Cook
Grip: Custom-built rigs for trains, horse carriages, and biplane;
step-in crane and long dolly tracks by key grip Ryan Fritz
Prep days & Shooting days: 8 weeks of prep and 29 days of shoot
The film has an incredibly strong sense of framing, every shot feels like a painting. What visual references did you and the director discuss, and how did those conversations shape the overall approach?
The Kowas were our lenses for day exteriors and some interiors. We loved how they reacted to sunlight. The flares had a warm golden quality that felt just right for the tone of the film. Beyond that, they rendered nature in a soft and beautiful way that really supported the atmosphere we were building. For night scenes and darker day interiors, we used the Zeiss Super Speeds. Their fast aperture allowed us to shoot using only real firelight or candles without needing to push the ISO or add any artificial sources. That combination helped us stay true to the naturalistic approach we were aiming for, both in the light and in the dark.
How did you feel about working with those lenses overall?
I love both of those lens sets. I’ve used them before and the Zeiss Super Speeds are probably the lenses I’ve shot with the most in my life. We even used them on Jockey, so Clint already knew and liked their look. They’re fast, compact, and incredibly reliable, especially when working in low light with natural sources.
The Kowas are really lovely too. I love how brilliant and expressive they are. They bring character without pushing into
