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Lens/Camera Information
Lens series: Cooke Anamorphic/i S35
Focus lengths: 25mm, 40mm, 65mm, 75mm, 100mm, 135mm
Original Aspect Ratio: 2.35
Camera: Arri Alexa SXT
Format: Digital
Rental Company:
DOP Information
Director of Photography: Julian Zalac, Associate Member CSC
Instagram: @julianzalac
Website: julianzalac.com
Production Information
Production: Staudamm (eng. Dam)
Producer: Sharlin Lucia
Director: Noreen Erkardas
Colourist: Julian Zalac
Crew United
For the cinematography of Dam, we imagined a certain softness, an organic, natural and almost dreamlike quality. I wanted the world around Lou to feel tangible but not overly sharp nor clinical. The Cooke Look has always had something to me and from the beginning I had the feeling shooting on the Cooke Anamorphics would be the right choice for the film. We wanted a look that felt both soft and immersive, pulling the audience into Lou’s world, without ever feeling too polished or distant. I wanted to be really close and intimate with our subject while still preserving some of the world around her, creating a sense of isolation that remains throughout the film. The cinematography mirrors Lou’s emotional stat, distant yet longing for connection.
The 40mm Lens became one of my favourites throughout the film. It gave us a beautiful, wide perspective while maintaining an intimate portrait-like feel. It let us stay close to Lou while showing enough of the environment to emphasise her isolation. Almost the entire lake scene was captured on the 40mm, which really helped us capture the blend of intimacy and openness.
Director Noreen Erkardas wanted to be very close to our main character Lou so we decided to shoot the film fully handheld. With the Alexa and the Cooke Anamorphics I went with quite a heavy setup. Because for me when shooting handheld the weight and momentum of the camera influences the motion in a unique way, which you can’t get when shooting with a lighter rig or on an Easyrig. For certain shots I had to use an Easyrig but tried to shoot as much actual handheld as possible. That being said, it was quite a challenge, especially in remote locations. I have to say I’m both sorry and grateful that my team had to endure this heavy setup with me. Dominik Schmidt from ARRI Rental and the team from CAMCAR and MBF been super supportive technically and creatively throughout our production.
For closer shots I often found myself reaching for the 65mm macro. It allowed us to get those really detailed shots without sacrificing the softness of the overall look. In the End the 40mm, and the 65mm became my go-to lenses throughout the whole film, helping to bring Lou’s story to life. In the end every technical decision from lens choice to camera motion was about bringing Lou’s world to life, capturing her isolation, her longing and ultimately her story.
I had a very certain look in mind and the Cooke Anamorphics been exactly what I’ve aimed for, so I’m really happy that I went with my initial idea.
