{"id":12598,"date":"2023-11-01T06:46:46","date_gmt":"2023-11-01T06:46:46","guid":{"rendered":"https:\/\/new-blog.artlist.io\/blog\/?p=12598"},"modified":"2024-01-01T12:18:49","modified_gmt":"2024-01-01T12:18:49","slug":"inside-the-creator-film","status":"publish","type":"post","link":"https:\/\/new-blog.artlist.io\/blog\/inside-the-creator-film\/","title":{"rendered":"Inside The Creator film: how it changes filmmaking forever"},"content":{"rendered":"

In case you\u2019ve been living under a rock for the past month or two, there\u2019s a new sci-fi blockbuster making big waves in the film industry. The Creator<\/em> is Gareth Edwards\u2019 latest offering on the big screen and thanks to his intuitive, unique approach which included shooting the whole film with a Sony FX3<\/strong><\/a>, everyone is rightly talking about it as a bit of a game changer.<\/p>\n

So, what makes The Creator<\/em> film so special? What can we as budding filmmakers and cinematographers learn from this, and how does this change the future of filmmaking?<\/p>\n

The Creator movie<\/h2>\n

The film is set in the year 2070, where a war between humans and AI is raging. We pick up the story as an ex-soldier (played by John David Washington) is tasked with hunting down and killing a super-weapon that\u2019s currently under development by the elusive AI architect known as Nirmata. It\u2019s a classic all-or-nothing setup. If the super-weapon is killed, the humans will win the war. If not, it\u2019ll be the end of humanity.<\/p>\n

Of course, there are plenty of twists and thrills that take us on an exhilarating adventure through a futuristic, war-torn South East Asia. It\u2019s a visually stunning piece of cinema and one that you absolutely have to see on the big screen.<\/p>\n

Who is Gareth Edwards?<\/h2>\n

Gareth Edwards is a British director who first gained widespread recognition for his independent film Monsters<\/em> (2010), in which he was the writer, director, cinematographer and VFX<\/strong><\/a> artist. He\u2019s since gone on to make a name for himself within the sci-fi genre, shooting the 2014 reboot of Godzilla<\/em>, and Rogue One: A Star Wars Story<\/em> (2016). With that kind of work on his CV, you always had a feeling and a hope that The Creator<\/em> might prove to be something special.<\/p>\n\t\t

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How The Creator changes filmmaking<\/h2>\n

A big part of the PR and marketing in the lead-up to and release of this film has been centered around how The Creator<\/em> was made, and rightly so. This is a film that bucks trends and sets new precedents and standards for the industry. It\u2019s a film that can inspire a whole new generation of filmmakers and creators to go out there and make the film they\u2019ve always wanted to make. Below, we break down some of the key factors that contributed to The Creator<\/em> film success.<\/p>\n

The Sony FX3<\/h3>\n

If you\u2019d told established filmmakers even five years ago that a huge Hollywood blockbuster could be shot exclusively on a digital prosumer camera, they probably would have scoffed. But that\u2019s exactly what Gareth and his team have done. The Creator<\/em> movie 2023 was all shot on the tiny-yet-powerful Sony FX3. Speaking across multiple interviews, Gareth shed light on why they went for this particular camera:<\/p>\n

    \n
  • The camera has great color science, allowing it to be graded and easily emulate a Kodak film stock, which is what Gareth and the team were aiming for.<\/li>\n
  • It can shoot at 12,800 ISO, enabling it to shoot in really dark scenarios, sometimes just with moonlight.<\/li>\n
  • It\u2019s really small and lightweight, making it easier to work with.<\/li>\n<\/ul>\n

    \u201cI feel like the prosumer market camera technology, because it\u2019s so desperate to win the professional market, they\u2019re trying so hard to be innovative that they\u2019re doing really interesting things the top end isn\u2019t doing\u201d, Edwards told the Behind the Screen<\/em><\/strong> podcast.<\/p>\n

    This choice of videography equipment<\/strong><\/a> directly influenced how they approached the making of the film.<\/p>\n

    A different type of production<\/h3>\n

    With the various interviews he\u2019s done, it\u2019s easy to get inside Gareth\u2019s head. Talking on Behind the Screen<\/em>, he recalls being on a tour of a studio and spotting a poster on the wall which was a huge venn diagram laying out how to make a film. It was 100 years old.<\/p>\n

    \u201cYou sort of realize we haven\u2019t changed the way a film is made in 100 years which is absurd to me\u2026there\u2019s all these new tools and all this new technology\u201d Gareth explains. \u201cIt\u2019s kind of like trying to forget what you\u2019re told\u2026and sort of going \u201cokay, forget it existed, what makes most sense, what\u2019s the most logical approach\u201d\u201d<\/p>\n

    For The Creator<\/em>, it\u2019s clear that Gareth and the team adopted this \u201cmost logical approach\u201d. With the Sony FX3\u2019s incredible low-light capabilities, they realized they no longer needed all these complicated, cumbersome lighting setups. Instead, they were using lightweight pro-sumer LED lights that could be attached to the end of a boom and move around with the camera at ease.<\/p>\n

    Previously, when shooting various camera angles<\/strong><\/a>, there might be pauses of 10 or 20 minutes as the lighting equipment had to be dismantled and reset. Now, it was all seamless, with the DP Oren Soffer making use of the latest tech, fading the LED lights up and down using an iPad.<\/p>\n

    This extremely nimble, low-key approach fed into everything. Gareth realized that if your team and footprint is small enough, it becomes cost-effective to actually go to locations and shoot there, as opposed to constructing huge studio sets. While shooting The Creator film 2023, they visited over 80 locations across Nepal, Thailand, Indonesia, Vietnam and Cambodia, covering 10,000 miles.<\/p>\n

    In behind-the-scenes footage, you can see that Gareth Edwards is operating the gimbal and camera in many cases, allowing for intuitive, instinctual filmmaking.<\/p>\n