![]() ![]() “Some of the scenes went into areas where people did not have electricity, so the scenes were literally built only with flashlights. In a post-apocalyptic world, low lighting and flares were a challenge that the Cooke lenses coped with well. The system of light, lens and camera gave a very specific, textured and warm image.” I love to work without filters too, and on the close ups I just could not take my eye off the portraits we could create with the light. You have this focus plane which is very distinctive, but after that the falloff between the focus plan and the defocused area is very smooth. “They are gorgeous, and are one of my favourite lens series. ![]() I also wanted to work within the range of 25mm-50mm lenses, so the challenge was: which lens won’t distort faces at 25mm where can I come with wide lens on the close-up without being too poppy? Cooke S4/i was an excellent choice for this.” “I wanted to keep close ups on the normal side and not go to long or wide lenses because, working from the characters’ perspective on the story, we needed to be able to stay close but at the same time preserve the depth of background. “I am obsessed with spherical lenses,” she said. Part of the joy of the game is the interactivity with the characters, seeing action from their perspective, so for the TV show we wanted to stay as close to them as possible, and that informed our choice of camera and lenses,” explained Sereda.įollowing a short period of tests, Ksenia decided on pairing Cooke S4/i spherical lenses with the ARRI ALEXA Mini camera. It’s about friendship and love, and the most important thing is the characters’ journeys. “Some may say that The Last of Us is a post-apocalyptic ‘fight for survival’ story, but for me, the real story is about people building new lives in new circumstances. Starting from an incredible cinematic reference in the game itself, one of the most important things was to recreate the atmosphere of this dystopian world. Maier –joined the production to work on several episodes, at the start of the process Sereda worked closely with Neil Druckmann, the writer of the original game and co-creator and writer/director for television, and Craig Mazin, co-creator and writer/director for television, to capture the visual language of the series. While three other cinematographers – Eben Bolter, Nadim Carlsen and Christine A. “So of course, it was a lot of pressure to translate the video game language into the TV series because it’s already beautiful and everyone, including nearly all of the crew, loved the game.” And the most surprising thing was how deeply I connected to the characters in the game,” said Sereda. “I played the game for the first time almost four years ago, and I was absolutely fascinated by its cinematic look – I wasn’t ready for how beautiful it was, the lighting was gorgeous. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. The Last Of Us story takes place twenty years after modern civilization has been destroyed. Leicester, UK – 20 March 2023 – Cooke Optics can proudly share that its globally renowned Cooke S4/i spherical lenses were the tool of choice for cinematographer Ksenia Sereda to shoot The Last of Us, the new HBO series based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms. Anticipated HBO adaptation of award-winning video game preserves iconic elements with stunning cinematography ![]()
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