Using three sets of Cooke Optics Anamorphic/i Full Frame Plus Special Flare lenses, cinematographer Glen Keenan, CSC, achieved his desire for the most organic, non-studio look to convince the audience they were seeing a real location in Star Trek: Strange New Worlds (Paramount+).
A spin-off from Star Trek: Discovery and a prequel to Star Trek: The Original Series, Strange New Worlds follows Captain Christopher Pike and the crew of the USS Enterprise. The Star Trek Universe’s journey for its streaming series to get to anamorphic full frame with special flare started with Star Trek: Discovery Disco, for which Keenan served as cinematographer for seasons one through three.
“Season two of Disco was our move to anamorphic primes [for 2.39:1 for streaming], and that won me over,” said Keenan. “For Star Trek, there’s a studio, but no reality. I want to convince the audience that we are in a real space with a lens that would add more organic qualities to the image. The Cooke anamorphic special flares have the right amount of aberrations and flare for the signature Star Trek blue streak flare. Two things really help with reality: the expected inconsistencies between lenses help to ground the story like we were really there and the anamorphic falloff. Both of those features help to deliberately frame the action to where I want the audience to focus on.”
The offer for Keenan to move to Star Trek: Strange New Worlds and develop the look came from Alex Kurtzman, creator and EP of Star Trek: Discovery.
“There was a moment when shooting Disco in anamorphic that I knew I really wanted full frame special flare for 4K for Strange New Worlds. My supplier got on the horn with Cooke. And Cooke built a custom set for Strange New Worlds, delivering two sets before episode one, then the third set once they were made. Cooke stepped up with full frame anamorphic special flare for day one. It was remarkable. Three sets in two months.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this โ and those many "Babadook" memes โ unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables โ "Bah-Bah-Doooook" โ an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More