American Cinematographer - April 2024 - 60

Global Village
Tech Specs: 2.39:1
Cameras | Arri Alexa 35
Lenses | Cooke Anamorphic /i SF
Although camera moves were kept to a minimum on The Promised Land,
Videbæk did employ various camera-movement systems - including the
Easyrig (pictured here), which allowed him to set his shots quickly. " It was
used mainly as a tool to move fast on the shoot day, and to create a slight
sense of 'breathing' in intimate scenes, " he says.
Spotlight on Camera Movement | Impactful Choices
In The Promised Land, camera
moves are perhaps most notable
for their absence - except for
a few select moments. " Usually,
we stayed away from moving
the camera at all - there are
movements, but not a whole lot, "
Videbæk says. " We were basically
just staying put. We tried to
avoid the classic dolly language
of moving in, coming a little bit
around - those small moves. "
In part, this choice reflects
some of the cinematic references
60 / APRIL 2024
Videbæk and Arcel drew upon.
" Those older epics from the
1950s and '60s that inspired us
had fewer camera moves. There
were moves, of course, but not in
every single shot. "
One departure from this
philosophy is a scene in which
Kahlen, a former military captain,
seeks revenge on a group of men
hired to destroy his budding settlement.
Fluid moves were key in
capturing the action. " Most of the
scene is just one take, " Videbæk
explains. " We start by the lake,
then basically stay with [Kahlen]
as he kills the first guy, goes behind
some trees, and then attacks
the group from the back. It's one
of the very few Steadicam shots
in the whole film. We only shot it
one time; Mark Rimmer, a Czech
Steadicam operator, nailed it on
the first go. "
Another important camera
move punctuates a considerably
happier moment: Kahlen, worried
that his newly planted crops have
been destroyed by an early frost,
examines the dirt for signs of
life. The camera, which is nearly
down in the dirt, elegantly tilts up
from the crops, revealing Kahlen's
relief when he determines they
are alive. " The second act starts
there, so that shot - showing
the crops and Kahlen - creates a
new chapter, " Videbæk says.
Within a pared-down camera
language, even a simple tilt can
have a huge impact.
- Sarah Fensom

American Cinematographer - April 2024

Table of Contents for the Digital Edition of American Cinematographer - April 2024

Contents
American Cinematographer - April 2024 - Cover1
American Cinematographer - April 2024 - Cover2
American Cinematographer - April 2024 - 1
American Cinematographer - April 2024 - Contents
American Cinematographer - April 2024 - 3
American Cinematographer - April 2024 - 4
American Cinematographer - April 2024 - 5
American Cinematographer - April 2024 - 6
American Cinematographer - April 2024 - 7
American Cinematographer - April 2024 - 8
American Cinematographer - April 2024 - 9
American Cinematographer - April 2024 - 10
American Cinematographer - April 2024 - 11
American Cinematographer - April 2024 - 12
American Cinematographer - April 2024 - 13
American Cinematographer - April 2024 - 14
American Cinematographer - April 2024 - 15
American Cinematographer - April 2024 - 16
American Cinematographer - April 2024 - 17
American Cinematographer - April 2024 - 18
American Cinematographer - April 2024 - 19
American Cinematographer - April 2024 - 20
American Cinematographer - April 2024 - 21
American Cinematographer - April 2024 - 22
American Cinematographer - April 2024 - 23
American Cinematographer - April 2024 - 24
American Cinematographer - April 2024 - 25
American Cinematographer - April 2024 - 26
American Cinematographer - April 2024 - 27
American Cinematographer - April 2024 - 28
American Cinematographer - April 2024 - 29
American Cinematographer - April 2024 - 30
American Cinematographer - April 2024 - 31
American Cinematographer - April 2024 - 32
American Cinematographer - April 2024 - 33
American Cinematographer - April 2024 - 34
American Cinematographer - April 2024 - 35
American Cinematographer - April 2024 - 36
American Cinematographer - April 2024 - 37
American Cinematographer - April 2024 - 38
American Cinematographer - April 2024 - 39
American Cinematographer - April 2024 - 40
American Cinematographer - April 2024 - 41
American Cinematographer - April 2024 - 42
American Cinematographer - April 2024 - 43
American Cinematographer - April 2024 - 44
American Cinematographer - April 2024 - 45
American Cinematographer - April 2024 - 46
American Cinematographer - April 2024 - 47
American Cinematographer - April 2024 - 48
American Cinematographer - April 2024 - 49
American Cinematographer - April 2024 - 50
American Cinematographer - April 2024 - 51
American Cinematographer - April 2024 - 52
American Cinematographer - April 2024 - 53
American Cinematographer - April 2024 - 54
American Cinematographer - April 2024 - 55
American Cinematographer - April 2024 - 56
American Cinematographer - April 2024 - 57
American Cinematographer - April 2024 - 58
American Cinematographer - April 2024 - 59
American Cinematographer - April 2024 - 60
American Cinematographer - April 2024 - 61
American Cinematographer - April 2024 - 62
American Cinematographer - April 2024 - 63
American Cinematographer - April 2024 - 64
American Cinematographer - April 2024 - 65
American Cinematographer - April 2024 - 66
American Cinematographer - April 2024 - 67
American Cinematographer - April 2024 - 68
American Cinematographer - April 2024 - 69
American Cinematographer - April 2024 - 70
American Cinematographer - April 2024 - 71
American Cinematographer - April 2024 - 72
American Cinematographer - April 2024 - Cover3
American Cinematographer - April 2024 - Cover4
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