9/14/2023 0 Comments Ursa 12k![]() Courtesy of Vertical Entertainment and Roadside Attractions. Naomi Watts in “The Desperate Hour.” Photo: Sabrina Lantos. It’s deceptive, because when you first read the script, it seemed like, “How hard can it be, it’s mostly just one actor.” But it was my first COVID protocol movie, when we were working out all the things we take for granted now in terms of COVID safe working conditions. We all just wanted to go back to work, and it seemed like the right project at the right time. I think Phillip Noyce, the director, wanted to do it, and Naomi Watts was committed as well. ![]() We did the movie in just 13 days after I was in quarantine for 14 days. I have to confess that I spent longer in quarantine than I did filming the entire movie. They had just established the first return-to-work COVID rules, it seemed like a good film at the time to do, because there was only one main actor and it was in a rather remote part of Canada. John Brawley, ACS: Our location was in Northern Ontario, Canada. Jon Fauer: Please tell us about the backstory of your work as DP on The Desperate Hour. Cinematographer John Brawley, ACS discusses cameras, Supreme Prime and Angénieux lenses, lighting, equipment and more. Actually, there were four URSA 12K cameras on the film. The Desperate Hour is one of the first features where a Blackmagic URSA Mini Pro 12K was the “A” camera. John Brawley, ACS on “The Desperate Hour” with Blackmagic URSA Mini Pro 12K cameras.
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