The one-cam camera was designed by London VFX studio One Of Us and developed for the Jonathan Glazer movie “Under the Skin” starring Scarlett Johansson.
The movie Under the Skin, released in 2013 and directed by Jonathan Glazer, was shot on digital using ARRI ALEXA Plus Camera, one-cam Camera and Kowa Lenses, Schneider Cinegon Lenses, Schneider Xenon FF Prime Lenses, Schneider Xenoplan Lenses, Zeiss Super Speed Lenses with Daniel Landin as cinematographer and editing ...
The crew built their own cameras to shoot some scenes. Johansson drove the van with the crew inside, and towed a trailer containing a generator for their equipment. To create the black room in which her character traps men, the crew built a set with a reflective floor, blackout and custom lighting.
Examining this brilliant choice in Jonathan Glazer's “Under the Skin” (2014) to use real people filmed through hidden cameras to make the abduction attempts as disturbingly realistic as possible.
UNDER THE SKIN - Featurette - Starring Scarlett Johansson
Is that really Scarlett in Under the Skin?
Scarlett Johansson Opens Up About Her First Fully Nude Role In 'Under The Skin' Jonathan Glazer's "Under the Skin" is one of the most haunting, bizarre and disorienting films likely to arrive in theaters this year.
This is made even more believable as Glazer and his team employed a strange, cinema-verite approach to filming Under the Skin. Fitted with hidden cameras and the crew packed into the back of the van, many of the male pedestrians were not hired actors or extras- just genuine, real passers-by.
Because the 1917 cinematography uses single shot coverage, sets had to be the exact length and size for action to happen without breaks or cuts. These rehearsals allowed the art department to determine how long the bunkers would be and how the sets would be designed given the movement of the actors and camera.
Dry for wet is a film technique in which smoke, colored filters, and/or lighting effects are used to simulate a character being underwater while filming on a dry stage. Fans and slow motion can be used to make hair or clothing appear to float in the current.
Zuccarini wielded the 180lb 3D Sony Venice camera system developed specifically for the film. The camera system employed two Venices in a box that shot through a beam splitter. The grips helped with the weight of the rig with lines to time the stops.
(Technical Note: All episodes specified below were shot on Kodak Vision3 500T 5219 and 250D 5207 with Arricam Studio and Arricam LT cameras and Cooke S4 Primes lenses. On occasion, Klein would use an Angeniuex Optimo Zoom lens.)
Actually many of those guys hadn't got any video experience at all so they got in to all sorts of problems. I certainly think the experience of tape and film is a very valuable grounding for shooting HD.” Skins series two shot on the Sony 750 and the new series on the Sony 900R.
Jasper Wolf did an incredible job with the film's look. In an interview with Variety, he said the film was shot on Alexa Mini LF but didn't mention the lenses.
It was shot with Canon EOS-1D Mark II digital SLRs, rather than the 35 mm film cameras used for Burton's previous stop-motion film The Nightmare Before Christmas.
Do actors drink real alcohol on set? While some performances make you believe the actor must have been intoxicated while filming, actors do not usually drink actual alcohol on set. Instead, they are given prop drinks, which look like alcoholic beverages but do not contain any level of alcohol.
Another method for manufacturing tears comes in the form of menthol sticks. A menthol stick is a small cylindrical tube that carries a menthol crystal. Similar to a tube of lipstick, the menthol stick can be unwound and “rolled” onto the skin. In this case, you'd apply the menthol stick directly under your eyes.
For shooting underwater sequences in the original film, filmmakers relied upon bluescreen stages and harnessed actors held aloft by “tuning fork” framing. Though final results proved impressive, the method was uncomfortable for the cast and limited Wan's camera position and moves.
The movie “1917” wasn't shot in one long continuous take. The filmmakers used tricks like dark hallways, characters crossing in front of the camera and CGI as edit points to create the illusion on a one-take movie.
At the time of 1917's fictional story, no Sikh soldiers would have been in France or Belgium, and it would be unlikely to see a single Sikh soldier mixing in with British units as shown in the movie 1917. Another inaccuracy is the care of wounded troops.
It's Salisbury Plain we see in the opening scenes of the film, under trees and then in a chalk-soil trench, the first of many we visit. From there, we move to more trenches, this time dug in the clay soil of Bovingdon Airfield in Hertfordshire.
Under the Skin is about transformation, of one creation disguising itself as — and eventually attempting to become — another similar but fundamentally different beast.
An alien in the guise of a seductive woman (Johansson) prowls the streets of Glasgow in search of prey - unsuspecting men who fall under her spell. The victims are then stripped and consumed.
Adam Pearson (right) and his twin brother Neil (left) from the Horizon episode My Amazing Twin. In 2013, he was cast alongside Scarlett Johansson in Jonathan Glazer's film Under the Skin. He said that he hoped the role would challenge disfigurement stigma.
