Shot in 4K for online distribution in Ultra HD, Netflix Original Series Sense8 is a showcase for the incredible image quality of our PMW-F55 CineAlta camera. With the show’s second season currently in production, DoP Christian Almesberger took time out to talk candidly about cameras, 4K and the challenges of shooting on location in the dusty streets of Nairobi.
The experienced cinematographer’s choice
It’s a show with a difference. Created and written by Andy and Lana Wachowski (The Matrix) and J. Michael Straczynski, sci-fi drama series Sense8 stretches its bold narrative arc across nine cities in eight countries.
We caught up with DoP Christian Almesberger – one of show’s four cinematographers alongside John Toll, Frank Griebe and Danny Ruhlmann – who’s responsible for segments of the show shot in the Kenyan capital of Nairobi.
A Netflix original series, Sense8 marks a creative reunion for Christian and German director Tom Tykwer, who had previously collaborated on the feature Nairobi Half Life (2012). Shot on location in East Africa, the production caught the attention of Sense8 creators Lana and Andy Wachowski. And as Christian explains, the duo’s experience of shooting Nairobi Half Life would prove invaluable three years later during production of Sense8:
“Previously I’d shot on film, but this time round I knew we wouldn’t bring 35mm to Kenya for Sense8. There are no labs and not much support out there, so it was pretty clear from the outset we’d be going digital�?.
The decision to shoot in 4K with the PMW-F55 CineAlta camera came down to the show’s principal cinematographer John Toll, who had conducted tests against other cameras. For Sense8 Toll specified the F55, paired with Zeiss Ultra Prime and Cooke S4 lenses to guarantee a consistent look for footage from all locations.
Unflinching performance in tough conditions
Christian Almesberger, DoP Sense8
“Most of Sense8 is shot using the F55. In fact we’ve used it exclusively for all the set-ups we shot on location in Kenya�?, observes Christian. “There’s been no studio work in Africa. One location was built on a backlot, but the rest was shot out on the streets in the slums of Nairobi. It was pretty hard conditions for us and the camera. It’s very hot and dusty. The streets are very bad, as we found with a lot of the shots rigged on cars.
“We were shooting in 4K RAW with the F55, using an external recorder. What I really liked about this camera is the size and the weight – it’s fantastic. You can just use it for everything. We were shooting mostly handheld, using an EasyRig or Steadicam: you would have just died with a bigger camera. We were working very fast, and I just didn’t have time to set up a dolly: I didn’t even have one with me in Nairobi.
“For most set-ups we were working with two cameras virtually all the time, and sometimes up to four or five cameras for stunt sequences. We also had a second unit for Lana and Andy who came to Nairobi for some fight sequences, while we also had Tom shooting other stuff at the same time. So at one point we had eight F55 cameras all being used simultaneously!�?
As Christian explains, John Toll oversees all decisions about camera systems, frame rates, lenses and other variables. Cinematography’s effectively the same at each location – extending to John overseeing the grade of 4K footage to keep everything consistent.
Get the natural look in 4K
“Because Netflix is US based, we’ve been shooting at 23.96fps for the whole show – that’s the standard frame rate for television over there. We also did a bit of high-speed stuff with the F55 running at 48fps for stunts, action sequences and a few dream sequences. But it really depends on the content. We wanted to keep things ‘realistic’ looking, so in reality we didn’t overcrank the cameras very much and stuck with normal frame rates�?.
As Christian reflects, the F55 has been a supremely effective creative foil for director Tom Tykwer: “I do love film: it’s what I grew up with professionally, first as a focus puller and later as a DoP. But it’s important to decide on the right tools for each right project. Today it would be crazy to shoot a series like Sense8 on film, for cost as well as a whole load of other logistical reasons.
Also you can do a lot with digital to make it look like film. Working on Nairobi Half Life I deliberately added some grain – a lot of people thought it was shot on film! But the reality is that film’s more expensive and it takes so much more time. Digital has given us more great tools, like the F55. And that means a lot more creative choices.�?
4K is prime choice for Netflix original drama
Alongside Sense8, most other Netflix Original Series – including House of Cards, Marco Polo, Daredevil and Jessica Jones – are now being produced in 4K, many of them shot with the F55.
