Cinematographer Matthias Königswieser, AAC über “White Bird – A Wonder Story”

Zum Nachlesen findest du hier den Artikel von Panavision über die Kameraarbeit von Matthias Königswieser, AAC an dem Projekt “Withe Bird- A Wonder Story”  ===>

Reteaming with director Marc Forster, Königswieser employed anamorphic lenses and a mix of 35mm film and digital cameras for the historical drama.

Up to the moment the cameras rolled, cinematographer Matthias Königswieser, AAC wasn’t sure White Bird: A Wonder Story would actually happen. Production of the feature film began in Prague in the middle of the coronavirus pandemic, when most of Europe was on lockdown. Transporting crew, talent, and equipment required herculean effort and contingency planning, and if key personnel or talent tested positive for covid, the entire schedule could be upended or the production could be shut down. Lay on top of those difficulties a cold, mucky winter, and you have a recipe for what could have been a disaster.

Königswieser channeled his anxieties about the situation into shooting the film. “You take that intensity and you put it on screen,” he says. “Even though it was incredibly hard, when I shot, it was very much like a psychological as well as physical workout. You could blow off some steam and turn those feelings into art and imagery.”