Cinematographer Autumn Durald Arkapaw on Filming "Sinners" with 70mm IMAX, Complex One-Takers, and Seamless Twinning VFX

The Cinematography Podcast

Introduction to Autumn Durald Arkapaw and "Sinners" [01:38]

• Collaboration with Ryan Coogler: Autumn Durald Arkapaw, known for her work on "Loki" and "Black Panther: Wakanda Forever," discusses her ongoing collaboration with director Ryan Coogler.
  • Their connection began through cinematographers Bradford Young and Rachel Morrison, leading to Arkapaw shooting "Black Panther: Wakanda Forever" and then "Sinners."
  • Coogler is described as a "brave filmmaker" who is open to new ideas and creates an environment of high-level collaboration and empowerment.
• Film Premise and Personal Connection: "Sinners" is a supernatural horror-action film set in the 1930s, integrating the spiritual power of Black American rhythm and blues music with a vampire story.
  • Arkapaw felt a personal connection to the script due to her own family lineage and ancestry in the American South, finding it to be a deeply personal and imaginative story.

The Choice of Large Format (70mm and IMAX) [09:24]

• Initial Vision and Shift: Coogler initially envisioned shooting "Sinners" in 16mm, a format he used for "Fruitvale Station."
  • However, technical discussions for the film's "twinning" effects (Michael B. Jordan playing dual roles) led them to consider 35mm to avoid gateweave issues.
• Studio Suggestion and Testing: The studio then suggested exploring large format.
  • Arkapaw and Coogler quickly pivoted, testing 65mm film (which prints to 70mm) and IMAX (15-perf 65mm) in the desert and reviewing existing 70mm prints.
  • They "fell in love" with the prints, leading to the decision to shoot in this challenging format.
  • The team embraced the decision, driven by Coogler's willingness to "do anything" and "do things for the first time."
• Logistical Challenges: Transitioning to a large format like 65mm/IMAX was a significant logistical undertaking requiring immense support from producers and the studio.

Operating Large Format Cameras [13:41]

• Physical Demands: Shooting with 100-pound IMAX cameras in the Mississippi summer presented extreme physical challenges.
  • The crew battled heat, sudden rain, and thick mud, making filming an "exercise in endurance" reminiscent of films like "Lawrence of Arabia."
  • Arkapaw highlighted the necessity for patience and a highly skilled team due to the weight and immobility of the cameras.
  • Her IMAX technician, Schmidy, provided daily camera servicing.

    

• Sound Recording and ADR: IMAX cameras are notoriously loud ("sound like a lawnmower"), necessitating extensive ADR (Automated Dialogue Replacement) for scenes shot with them.
  • Key dialogue-heavy scenes, originally slated for sync-sound Ultra Panavision 70, were eventually shot in IMAX, requiring actors to re-perform emotional moments in an ADR booth.
• Exposure Philosophy and Film Stock: Arkapaw maintains a consistent, emotional approach to film exposure, regardless of format.
  • She used a single film stock, Kodak 500T (tungsten balanced), for the entire picture, both indoors and outdoors, timing it for daylight during dailies and the Digital Intermediate (DI).
  • This required using significant neutral density (ND) filtration on the lens for daylight scenes.
• Lensing for IMAX: Due to the novelty of using Panavision glass for IMAX, they had a limited set of lenses.
  • They used a 50mm and an 80mm lens (Panavision glass specifically made for IMAX for Christopher Nolan's "Oppenheimer").
  • The 50mm was used for wide, immersive shots, such as the opening crane shot and the musical "oner."
  • A custom 80mm Petzval lens was also created by Dan Sasaki, featuring heavy field curvature for distinctive fall-off and bokeh, used in surreal, dreamy moments.
• Framing for Multiple Aspect Ratios: Arkapaw consistently uses a "center punch" framing style, keeping the most important elements in the center.
  • She operated the camera herself for "Sinners" and worked closely with her B-camera operator, Josh Madak, to ensure consistency.
  • To accommodate the film's release in multiple aspect ratios (1.43:1 IMAX, 1.90:1 digital IMAX, and 2.76:1 Ultra Panavision 70), she used a specialized ground glass in her eyepiece. This allowed her to frame for IMAX while simultaneously being aware of how the image would be cropped for other formats.

Executing Complex Sequences [29:34]

• The Street "Oner": Ryan Coogler's approach is to ground ambitious one-shot sequences in the story.
  • An early scene in Donaldsonville, Louisiana, depicting characters crossing a street with segregated sides, was conceived as a steadycam "oner."
  • Initial tests explored using a lighter, high-speed 65mm camera, but its loudness meant dialogue would be lost.
  • The team considered a remote-head rig on a rickshaw dolly for sound but found it too restrictive for movement within the shop.
  • Ultimately, the scene was shot with a steadycam, accepting that dialogue would require ADR. Lighting for both interior and exterior simultaneously, along with a complex iris pull by the focus puller, were critical elements.
  • The successful execution of this "storytelling note" highlighting segregation was a point of pride for the team.

    

• The "I Lied To You" Juke Joint Sequence: This ambitious musical sequence, considered one of the most striking in modern cinema, was meticulously planned for months.
  • It involved extensive storyboarding, pre-visualization (previs), and camera rehearsals to choreograph every beat to the music.
  • The "oner" is actually composed of three stitched-together IMAX steadycam shots captured over a single day.
  • Due to the heavy IMAX camera, they used a "half load" (75-second roll of film) on the steadycam, requiring careful planning of stitch points.
  • The scene culminates in a VFX takeover featuring a burning roof plate, which was a practical effect filmed on the last day of principal photography, seamlessly blended with other shots.
  • Arkapaw finds watching this scene emotionally impactful, feeling pride for the entire team's accomplishment.

    

Seamless Twinning and VFX Integration [43:13]

• VFX Collaboration: A crucial aspect of "Sinners" was the flawless execution of "twinning" shots for Michael B. Jordan's dual roles.
  • Arkapaw had a strong working relationship with the VFX supervisor, who had previously worked on "Black Panther" second unit.
  • This close collaboration ensured the preservation of the filmmakers' intent, maintaining consistent lensing, lighting, and image texture throughout the VFX pipeline.
• In-Camera Capture and Techniques: The guiding principle was to capture as much as possible in-camera.
  • Techniques included lock-offs, split screens, and the use of a Technodolly for precise, repeatable camera movements for shots involving both characters.
  • Head replacement was employed for more complex action sequences where the Technodolly wasn't feasible.
  • Extensive reference material (for sky, actors, etc.) was captured on the "hero" film material to aid the VFX team in recreating authentic elements.

    

• Commitment to Realism: The goal was to make the visual effects feel completely real and integrated, preventing the audience from being pulled out of the 1930s photographic aesthetic.
  • This required a new and challenging workflow, as this level of VFX had not been previously attempted for an IMAX picture.
  • Michael B. Jordan's compelling performance was paramount, and the cinematography and VFX aimed to support it without distraction.
• Preparatory Training: To ensure seamless execution of twinning, Arkapaw consulted cinematographer Jody Lee Lipes (known for "Dead Ringers" and "I Know This Much Is True").
  • Lipes advised a practice shoot involving all relevant departments (sound, AD, lighting, camera) to clearly define roles and iron out kinks.
  • This rigorous preparation was vital for complex interactions, such as one twin lighting a cigarette and handing it to the other, which leaves no room for error or concealment.