My talk with Midsommar cinematographer Pawel Pogorzelski is now up on Filmmaker Magazine. The folk horror tale re-teams Pogorzelski and his Hereditary director Ari Aster. Shot on the Panavision DLX2 with […]
My talk with Midsommar cinematographer Pawel Pogorzelski is now up on Filmmaker Magazine. The folk horror tale re-teams Pogorzelski and his Hereditary director Ari Aster. Shot on the Panavision DLX2 with Panavison Primo Primes and Primo Artiste 70mm lenses.
Here’s Pogorzelski breaking down one of the film’s distinctive drone shots:
Filmmaker: There’s a shot when the Americans are first driving to Hårga where a drone flies from the front of the car to the back. As the drone moves, the camera rotates 180 degrees so that the image is upside down when it reaches the other side of the vehicle. I don’t remember ever seeing that shot before.
Pogorzelski: We found very good drone operators in Hungary, where the Sweden-set scenes were filmed, but at first they told us it was impossible to do that shot. I kept doing research and found a way, which was basically a custom-made drone with a gimbal head — I think it was a Ronin — that could hold an Alexa Mini. Then you had to bypass the drone’s software to tell it to tilt more than [the software] would normally allow. I asked the drone operators if they would try that for me and they were a bit reluctant because that drone is their baby. The first day we flew it, the drone died as it took off. So we had to do the shot again on a day that was a little bit too overcast, but it was the only day we had left to get the shot. It was very windy, but the operators were able to keep the drone flying straight, which was quite impressive. I think we did it four or five times and every time [the drone operators] were very nervous. I was always like, “One more, one more. We can do it better.” And they were always like, “Are you sure? I think we’ve got it.” (laughs)