The cinematography behind the new cool Netflix action series ‘In From The Cold’ can constitute a reference of smart lens utilization for getting the correct images. The series was shot on Sony VENICE paired with Cooke S7/i and Panchros by cinematographers Hermes Marco AEC and Imanol Nabea. Let’s read about their strategy on capturing the right imagery for this flick.
In From The Cold
‘In From The Cold’ is Netflix’s new suspenseful and exciting series that follows a single mother exposed as an ex-Russian spy, who must juggle family life and unique shape-shifting skills in a battle against an insidious enemy. ‘In From The Cold’ has launched on Netflix on 28 January. All episodes are now available on the platform globally. Watch the trailer below:
Shifting the ‘look & feel’ with the help of lenses
The filmmakers faced two key challenges in the delivery of the series: to convey a sharp transformation of the main character’s personality from an inconspicuous American mother to a lethal assassin; and to move the action from Moscow in the 1990s to present-day Madrid. With four directors on board for different episodes – Amy Canaan Mann, Daniel Calparsoro, Birgitte Staermose, and Paco Cabezas. Showrunner Adam Glass and Hermes worked very closely to define the show’s look, compiling lots of references and defining the contrasting styles to enable the directors to retain a consistent look across the series. Hence, the cinematographer Hermes Marco, AEC, has decided to implement a combination of Cooke S7/i Full Frame Plus and vintage Cooke Speed Panchro lenses, as well as a modern Cooke Panchro/i Classic 65mm Macro lens, to create artistic and smart contrast between different cities and time frames.
Choosing the ‘Cooke Look’
According to Hermes, the choice of lenses was pretty obvious: “The optics were one of the clearest things I had from the beginning, it was always going to be Cooke. They provide the right touch of softness and flare, but moreover, they are lenses I trust for their excellent optical performance”. In order to dive deeper into the ‘Cooke Look’, make sure to read our article: Cinema Lenses: The Cooke Look.
Panchro for ‘colder’ imagery, and S7/i for cozy 6K
The show appears to be cold in its first appearance, a look that Hermes achieved with original Speed Panchro S2/S3s. “We shot the Moscow scenes with the Speed Panchros in 4K. These vintage lenses offer a gentle image and low contrast, which matched perfectly with the look I wanted – a darker, more electric, and cold aesthetic.”
For the contrasting warm, smooth, and natural look that Madrid offers, Hermes turned to the S7/i Full Frame shooting in 6K, making use of LUTs when the character transforms from suburban mother to spy. The chosen camera was the Sony VENICE, and it was paired perfectly with the Full-Fram Plus glass. “The S7/i lenses are those types of glass that you know you can trust, no matter what focal length,” said Hermes.
40mm as the preferred focal length
Furthermore, Hermes stated regarding his chosen focal length: “My preferred focal length is the 40mm. The proximity to the character works very well at the narrative level, but at the optical level, it is something very difficult to achieve without aberrations. The 40mm offers a wide-angle view and works very well in this close-up environment, bringing a very intimate feeling of being with the character without having to be overwhelming them”.
Good cinematography = Improvisation + embracing “accidents”
Indeed, good cinematography is not just about planning the shot meticulously, but also about recognizing Murphy’s law. This is how Hermes describes his career as a cinematographer as a journey from science to alchemy. “I started my career focusing on technical excellence; knowing every detail and component of the camera was a fundamental part of my work. The evolution of the kit and my experience as a cinematographer have allowed me to move on from calculating every technical aspect to being much looser behind the camera, improvising more, and being more open to embracing “accidents”. This in turn gives me the chance to be much more spontaneous and to cultivate and harvest what I find along the path, and ‘In From The Cold’ is a reflection of this growth,” he explained.
The evolution of the kit and my experience as a cinematographer have allowed me to move on from calculating every technical aspect to being much looser behind the camera, improvising more, and being more open to embracing “accidents”.
DP Hermes Marco, AEC
What do you think about this approach? What’s your cinematographic strategy? Are you an accidents embracer?
Product List
Here’re the products mentioned in the article, and the links to purchase them from authorized dealers. (Note the differences between prices due to focal lengths, characteristics, sets and etc.)
- Cooke 7S/i
- Cooke Panchro/i Classic
- Sony VENICE 2 Digital Motion Picture Camera (8K)
- Sony VENICE 2 Digital Motion Picture Camera (6K)
