How ‘Sinners’ Used 70mm Film & Magic Hour for Impact

Autumn Durald Arkapaw, a distinguished cinematographer known for her visually rich storytelling, embarked on a groundbreaking cinematic journey with Ryan Coogler’s highly anticipated film, ‘Sinners’. Her work on the project not only delivered stunning visuals but also carved a significant place in filmmaking history, particularly through her innovative use of large-format film. This article delves into Arkapaw’s meticulous approach to capturing the film’s unique aesthetic, focusing on the impressive technical feats, like shooting on Ultravision 70mm film, and her detailed execution of pivotal scenes, such as Jack O’Connell’s grand entrance during the fleeting ‘magic hour’.

The Ambitious Vision: From 16mm to Ultravision 70mm and IMAX

‘Sinners,’ a period horror film set in the 1932 Mississippi Delta, tells the story of twin brothers Smoke and Stack, played by Michael B. Jordan, who return home to confront supernatural forces. Cinematographer Autumn Durald Arkapaw was initially drawn to Ryan Coogler’s script, sending him an extensive email detailing her visual ideas for the unique storyline.

The journey to ‘Sinners” grand visual scale was an evolving process. Initially, the creative team considered shooting on 16mm film, aiming for a textured, intimate aesthetic. However, discussions with the visual effects supervisor, prompted by the need for a stable negative for the twinning effects of Michael B. Jordan’s dual roles, led them to consider 35mm. The pivotal shift occurred when the studio suggested exploring large format.

Inspired by films like Quentin Tarantino’s ‘The Hateful Eight,’ which utilized 65mm film with Ultra Panavision 70mm lenses to capture expansive landscapes, Coogler and Arkapaw conducted tests in the California desert. The breathtaking results from screening these tests at FotoKem and IMAX headquarters solidified their decision to embrace large format.

Ultimately, ‘Sinners’ was captured on 65mm film, utilizing a combination of IMAX 15-perf and Ultra Panavision 70 cameras. This allowed for a dynamic interplay of aspect ratios, alternating between the immersive 1.43:1 for IMAX sequences and the wide 2.76:1 of Ultra Panavision 70, effectively enhancing both the film’s period atmosphere and its supernatural elements. In a historic move, Kodak even specially manufactured a 65mm version of their Ektachrome 100D film stock for a flashback sequence.

A Historic Achievement in Cinematography

Autumn Durald Arkapaw’s work on ‘Sinners’ is particularly notable for its groundbreaking nature. She became the first female cinematographer to shoot a feature film on 65mm in IMAX format. Furthermore, Arkapaw holds the distinction of being the first cinematographer to integrate both the widest aspect ratio of Anamorphic Ultra Panavision 70 (2.76:1) and the tallest IMAX format (1.43:1) within the same production. She also uniquely used IMAX 15-perf film format with KODAK EKTACHROME filmstock. This pioneering approach underscores her commitment to pushing cinematic boundaries and creating a truly immersive viewing experience. Her dedication to the craft even extended to consulting with renowned director Christopher Nolan and his frequent cinematographer, Hoyte van Hoytema, for insights into working with IMAX cameras.

Crafting Jack O’Connell’s Grand Entrance During Magic Hour

One of the film’s most memorable sequences involves the dramatic introduction of Jack O’Connell’s character, Remmick, a vampire. This scene, described by Arkapaw as one of her favorites, was originally intended to open the film in Coogler’s script, evoking a classic Western feel. The goal was to establish Remmick’s presence with a palpable sense of grandeur and a subtle hint at his supernatural abilities.

Arkapaw meticulously planned Remmick’s entrance, where he appears almost midway through the film, dropping into the frame with a distant farmhouse and circling birds. The scene was specifically set during ‘magic hour’—the period just before sunset—to leverage the unique quality of natural light. This was crucial for conveying the narrative, as seeing the sun break the horizon had significant implications for the vampiric character. The crew dedicated two days to capturing this precise moment, allowing for the intricate detail Coogler envisioned.

The scene’s execution required precise timing and technical expertise. Arkapaw aimed to capture a “hint” of Remmick’s ability to fly, achieved through careful staging and camera work as O’Connell jumped off a box, close to the lens. Despite the challenges of shooting with large-format cameras during such a critical, time-sensitive period, Arkapaw’s team persevered. A critical moment arose when an IMAX camera jammed just before a crucial shot of a Choctaw character watching the sun descend. However, quick problem-solving allowed them to fix the issue and capture the shot just before the sun fully set.

The Immersive Impact of Large Format Storytelling

The decision to shoot on 65mm film with a combination of IMAX and Ultra Panavision 70 was not merely technical; it was a deliberate artistic choice designed to elevate the storytelling. The expansive 2.76:1 aspect ratio of Ultra Panavision 70 was employed to accentuate the vast landscapes of the Mississippi Delta, providing a sense of cinematic scope that mirrored the epic nature of the narrative. In contrast, the taller 1.43:1 IMAX format was utilized to offer a more intimate, “candid look into the characters,” drawing viewers deeper into their emotional states and experiences. This strategic variation in aspect ratios creates a dynamic visual language that immerses the audience, making them feel like an integral part of the film’s unfolding drama and horror.

Conclusion

Autumn Durald Arkapaw’s cinematography for ‘Sinners’ stands as a testament to her mastery of the craft and her willingness to embrace complex technical challenges in service of a compelling story. Her groundbreaking use of combined large-format film technologies, particularly Ultravision 70mm and IMAX, not only contributed to the film’s critically acclaimed visual elegance and immersive quality but also set new benchmarks in the industry. From the initial conceptualization to the intricate execution of scenes like Jack O’Connell’s ‘magic hour’ entrance, Arkapaw’s work on ‘Sinners’ exemplifies thoughtful, impactful, and historically significant cinematic artistry.