![]() My first assistant and my operator were a little skeptical at the beginning, but now they love the look of the MiniHawks – and so does the director.” “The first film was done anamorphic, but for us, using standard anamorphic glass was counterproductive. “Going from full spherical to full anamorphic seemed like too much for the audience, so the MiniHawks were an exceptional solution,” says Varese. So the look of our movie is contrasty, with deep, long shadows. It’s a scary movie, but at first the kids enjoy a joyous summer vacation. The contemporary part is a little darker, because the first part was about kids. Regarding his approach, Varese says, “Obviously, we didn’t want to copy the original, but our film needed to look somewhat similar, so the audience has a seamless transition. Light and fast, they are capable of super close-focus, with minimal geometric distortion and no breathing during focusing. For scenes taking place 27 years ago, he used T1.7 MiniHawk lenses from Vantage – finely crafted hybrid spherical/anamorphic lenses that deliver subtle anamorphic flavor while solving many of the inconveniences associated with traditional squeeze lenses. Varese opted to work with two types of lenses in order to delineate what he terms “the past tense” and “the present tense.” For contemporary, he combined Alexa SXT and Mini cameras with standard spherical glass. This conceit called for very conceptual lighting and lensing, at times untethered from normal reality – simultaneously a tremendous challenge and opportunity for Varese. In the script, Pennywise controls everything, even the minds of the other characters, who must conquer their fears to defeat him. The cast also features Jessica Chastain, James McAvoy, Isaiah Mustafa, and Bill Hader. The story finds the self-proclaimed “Losers’ Club” returning to their hometown of Derry, Maine after 27 years to defeat Pennywise, the shape-shifting, dancing demonic clown portrayed in terrifying fashion by Bill Skarsgård. You want someone like Checco who is always at your side, ready to share his visual creativity.” His background shooting in war zones might explain his adaptability to the circumstances. His patience is monumental, and his support unconditional. “For a cinematographer, working with a director who is very visual can be a blessing or a curse. “Just a few words were enough to express my vision of this film to him, and immediately an effervescent creative dialogue began,” says Muschietti. Production took place at Pinewood Toronto and at locations in the vicinity. The duo had worked together a decade ago on commercials and a pilot, and brought a shared cultural background and language to the task: both were raised in various South American countries. It: Chapter Two reunited director Andy Muschietti and director of photography Checco Varese, ASC. That project reportedly earned $700 million at the box office, against a $35 million budget – virtually ensuring a sequel. It, Stephen King’s 1986 supernatural novel, became a blockbuster hit film in 2017.
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