In the sense that if we wanted to it would not be difficult to invert the vignette and correct for it. That presents a unique challenge for color grading as well. As Colorist Jencks continued: “There was also very intense vignetting, as well as image distortion on those lenses. created some challenges in editorial, such as more tedious color correction between shots. This post-production audible from the Director-D.P. You got these really wild effects as the camera pans around, bending the picture.” “But when Steven saw how the optics were interacting with the image, he loved it, and was like, ‘Oh, I want to include that.’ So we actually widened out the image masking, and included those side parts, where there was very intense lens distortion. The lens coverage on the sensor was not entirely designed to cover the widest edges of the frame, there was very intense distortion at the far right and left edges of the frame and the initial framing had that cropped out”, described Nat Jencks, Soderbergh’s longtime colorist. “We were shooting on the RED Monstro sensor with very intense anamorphics. Interestingly, the film-shot in 2020 at the height of the pandemic in the United States-wasn’t planned to showcase any extravagant image distortion. This still from No Sudden Move’s official trailer showcases the remarkable distortion at the side of the frame, which is only exaggerated as the camera moves Like the black-and-white stock in Raging Bull or the 4:3 aspect ratio of 2020’s First Cow, the image distortion of No Sudden Move can’t be explained away with a factual blurb. Soderbergh’s creative decision to keep the fisheye distortion is inherent in the visual language of the movie. However, what came along with this combination of old glass and a new, 8K-capable camera body, was the instantly infamous lens distortion. These period-appropriate, anamorphic lenses bring shallow focus, beautiful swirly bokeh, and even some vignetting to the picture’s visual language. He shot the film on a RED RANGER MONSTRO using Kowa’s Prominar lenses,, Japanese glass from the 1960s. On No Sudden Move, Soderbergh acted as his own Director of Photography under the pseudonym Peter Andrews.

But for others, it was another personal touch from a beloved auteur.

And that doesn’t even begin to describe its ability to distract the viewer during the action-packed film’s many dollying or panning shots.įor some viewers, the lens distortion was too much. The dialogue of No Sudden Move is engrossing, and the plot turns are involved, but you’d be among the minority if you weren’t struck by the over-the-top barrel distortion in the image, paired with extreme depth and heavy vignetting. If you happened to watch the HBOMax-released crime thriller No Sudden Move, then you’ve seen it too. Grunnleggende strekninger for løpere – runmx halotestin scandic øren på $124 ($̶2̶3̶2̶). Whether it was the low-budget craftiness of his Palme d’Or-winning breakout, Sex Lies and Videotape-the extreme embrace of color in Traffic, or the rebellious iPhone-as-cinema-camera streak Soderbergh has found a way to tell an engaging story while experimenting with camera gear.Īlthough Soderbergh has switched back to large format digital cameras-but he hasn’t stopped fiddling with the form. For decades now, Steven Soderbergh has been subverting the standards of American film production.

No sudden move in theaters