“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
“We’d initially decided to shoot in the 1.85:1 aspect ratio, but when we started drawing, we found our drawings were going off the edges, and the film was telling us it wanted to be widescreen. At the same time, we both knew we weren’t being drawn towards 2x anamorphic. It felt like too strong of a look for what we wanted. When I mentioned the 1.3x anamorphic to Jane, that was really exciting for us, because it was a bit of the best of both worlds, spherical and anamorphic. Plus, a vintage lens is always a lovely thing to have on a period movie.” Cinematographer @ariwegner recounts her collaboration with director Jane Campion for #ThePoweroftheDog. Serviced by #Panavision Auckland with Ultra Panatar large-format anamorphic optics. Want to know more about inspiration, capturing landscapes, and storytelling through camera movement? Read the interview at the link in our bio.
What an incredible night!! 🥰 From someone whose natural habitat is behind the camera, thank you so, so much to the dream team who had me feeling so comfortable and glamorous last night! Y’all nailed it!!! The beautiful stylist @benjaminholtrop, custom tux by the incredible @asanchezfashion, vintage cut crystal from @cannonballandtilly, platinum tipped cowboy boots by @marcellvonberlin, make up by the wonderful @leah_rial, and of course hair by the one and only @paolapeach . Cannot thank you enough!! ❤️🔥
What an incredible night!! 🥰 From someone whose natural habitat is behind the camera, thank you so, so much to the dream team who had me feeling so comfortable and glamorous last night! Y’all nailed it!!! The beautiful stylist @benjaminholtrop, custom tux by the incredible @asanchezfashion, vintage cut crystal from @cannonballandtilly, platinum tipped cowboy boots by @marcellvonberlin, make up by the wonderful @leah_rial, and of course hair by the one and only @paolapeach . Cannot thank you enough!! ❤️🔥
Honoured to have brought this film to life with the incredible @janicza – You are fucking amazing. In collaboration with @jeremyoharris @taylour @rileykeough @kingofbingo @nicholasbraun @zolarmoon @katie_byron #joimcmillon @a24 @killer.films among many, many others. Love you all, so much!🌹🌹
Ode to Unknown Interior Designer of Pittsburg Airport D Gates – 1992 Refurb. (May your work never be updated, it is perfect.)
Ode to Unknown Interior Designer of Pittsburg Airport D Gates – 1992 Refurb. (May your work never be updated, it is perfect.)
Ode to Unknown Interior Designer of Pittsburg Airport D Gates – 1992 Refurb. (May your work never be updated, it is perfect.)
Almost 10 years ago I started talking with @dustinfeneley about a film called STRAY. It was the longest and most rewarding journey, via many miracles to get to Day 1 of the shoot so it makes me so damn happy to see this STRAY released in cinemas throughout NZ this weekend.❤️Link in bio for screening details and big, big love especially to everyone in Queenstown who made this crazy dream possible! 🙏🏻🙏🏻🙏🏻 @strayfeaturefilm
Almost 10 years ago I started talking with @dustinfeneley about a film called STRAY. It was the longest and most rewarding journey, via many miracles to get to Day 1 of the shoot so it makes me so damn happy to see this STRAY released in cinemas throughout NZ this weekend.❤️Link in bio for screening details and big, big love especially to everyone in Queenstown who made this crazy dream possible! 🙏🏻🙏🏻🙏🏻 @strayfeaturefilm
Almost 10 years ago I started talking with @dustinfeneley about a film called STRAY. It was the longest and most rewarding journey, via many miracles to get to Day 1 of the shoot so it makes me so damn happy to see this STRAY released in cinemas throughout NZ this weekend.❤️Link in bio for screening details and big, big love especially to everyone in Queenstown who made this crazy dream possible! 🙏🏻🙏🏻🙏🏻 @strayfeaturefilm
Almost 10 years ago I started talking with @dustinfeneley about a film called STRAY. It was the longest and most rewarding journey, via many miracles to get to Day 1 of the shoot so it makes me so damn happy to see this STRAY released in cinemas throughout NZ this weekend.❤️Link in bio for screening details and big, big love especially to everyone in Queenstown who made this crazy dream possible! 🙏🏻🙏🏻🙏🏻 @strayfeaturefilm
Almost 10 years ago I started talking with @dustinfeneley about a film called STRAY. It was the longest and most rewarding journey, via many miracles to get to Day 1 of the shoot so it makes me so damn happy to see this STRAY released in cinemas throughout NZ this weekend.❤️Link in bio for screening details and big, big love especially to everyone in Queenstown who made this crazy dream possible! 🙏🏻🙏🏻🙏🏻 @strayfeaturefilm
Almost 10 years ago I started talking with @dustinfeneley about a film called STRAY. It was the longest and most rewarding journey, via many miracles to get to Day 1 of the shoot so it makes me so damn happy to see this STRAY released in cinemas throughout NZ this weekend.❤️Link in bio for screening details and big, big love especially to everyone in Queenstown who made this crazy dream possible! 🙏🏻🙏🏻🙏🏻 @strayfeaturefilm
Summer in the City.
Am always so incredibly proud and in awe of my sister @lydiawegner but especially today. Tonight her new solo show, Shifting Light, opens @arconegallery. Get along! Tonight 6-8pm or over the next month, show runs today thru April 13th. Big love! Your photography always explodes my mind!
Melbourne friends! This Thursday at ACMI, a one-off chance to see STRAY on the big screen in Australia. This film is so dear to me, I wish I could be there. As a DP, so many hours are spent on set looking down a strange little tube at a tiny little image, that image however is quite often designed to be viewed many thousands of times larger and this was certainly the case on STRAY. See it big, you won’t regret it! There’s also a Q&A after with director @dustinfeneley and production designer @whinnies , moderated by the wonderful @glendyn_ivin . Tickets available at the ACMI website. Wish I could make it! @strayfeaturefilm
