By Graham Sheldon
It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time. Meet Matt Porwoll, DP of The Trade.
Still from The Trade. Courtesy of Sundance Institute.
DP: Matt Porwoll
FILM: Showtime’s The Trade (doc series)
CAMERA: Canon C300 MarkII
GLASS: Canon EF Series
cinema5D: Why did you choose this particular camera body?
MP: We needed a camera that was small, good in low light, had high dynamic range, and capable of recording good quality audio. To me, there was no better choice than this setup.
cinema5D: How about the lenses?
MP: We needed to keep our camera package light and compact. This lens list gave us a huge range of focal lengths without having to carry a lot of gear. While we shot 90% on the zooms, we had the 24mm prime for extreme low light shooting situations.
cinema5D: Did you use any new tech or tools for this shoot?
MP: We kept our camera package as slim as possible, and gave ourselves restrictions on gear to
maximize the creativity. We didn’t use gimbals, sliders, etc and stuck to traditional handheld
verite for our shooting style. We did employ a drone in each city for high angle perspective shots
of the areas our characters existed in.
cinema5D: Any go-to glass filtration in your kit?
MP: Since we were shooting with EF lenses that have a clicking iris, we used variable ND filters to
subtly adjust exposure while being able to maintain a consistent shooting stop on the lens –
generally an f4. We also had a polarizer for landscapes and establishing shots.
cinema5D: Other than the camera package, what was a pivotal piece of your kit?
MP: Our camera team was not only shooting, but
From:: Cinema 5d