“This was how it was done – a Steadicam person with the Vista Vision camera strapped to his chest ran backwards in front of Young Ellie as he goes up the stairs and down the hallway – there was a speed change – we ramp from 24 to 48fps (though I can’t remember exactly – we could have ramped through three different speeds) – by the time she stops and puts her hand to open the medicine cabinet door (“A” plate ) – we are then inside the reflection. The medicine cabinet was the “B” plate (second plate) and then the door closes and we have the “C” plate (third plate) which was the reflection of the photo of Young Ellie and her dad. By the way – the first time we received this CGI shot as a final (completed & ready to be signed off) Bob Z noticed that the picture frame did not match the one in the Arecibo Puerto Rico bedroom with older Ellie and Joss so they had to have an insert crew reshoot the “C” plate with the correct picture frame and re-composite the shot over again – not an easy thing to do since timing was critical in getting everything to match up. “
Food cinematography is no longer defined by static cameras pointed at an aproned Martha Stewart chopping vegetables, or pulling pies out of ovens, on daytime television. The crew behind Netflix’s Chef’s Table share some insights into how they masterfully redefined the genre of food documentaries.
No zoom lenses.
“Traditionally in documentaries and television, a zoom lens saves you a lot of time, because, with one lens on the camera, you can have a variety of different shots. The compromise is that the optics are not quite as beautiful. With the prime lens, what you’re choosing is a specific focal length. If we were trying to shoot this conversation and we wanted to go from a tight shot of you to a wide shot of the room, you can do that on a zoom lens, but for us, that is stopping to swap a new lens in. The lens is specifically engineered to give you the best of that length.”
No food stylists.
“A lot of people ask, ‘How do you shoot the food?’ Like, ‘Who’s your food stylist?’ Well, our food stylists are the best chefs in the world. They know what they want their food to look like and they’re pretty specific about it. We just light and shoot it in a way that brings out what’s already there and what the chefs are doing.”
It’s not just the lens that creates the focus.
“I think it’s a question of focus. We’re really interested in narrative. It’s not necessarily based around events — it’s around people’s personal stories and personal journeys. It’s set in the world of food but about people and we’re not really concerned with telling the audience how they cook. It’s really more about why they cook.”
Complimenti per sempre to the marketing department at Prada for having the vision to give Wes Anderson the keys to their brand. "Castello Cavalcanti" is still a gem five years later. A glorious combination of art and commerce.