All Quiet on the Western Front

Netflix

All Quiet on the Western Front

Netflix

Inspired by Erich Maria Remarque’s 1928 bestseller of the same name. Starring Felix Kammerer, Albrecht Schuch, and Aaron Hilmer. Directed by Edward Berger.

Netflix

Wildlife Unit, Director of Photography

Netflix

Wildlife Unit

DOP: Robert Hollingworth
Camera Operator: Garath Whyte
Production: Edita Šramotová
Animal Handler: Ota Bareš
Animal Handler Assist: Jáchym Bareš
DIT: Vladimír Kesl
LED Operator: Miroslav Holub
Model Maker: Radek Krendl
Driver: Andrej Gerčák
Genny Operator: František Sakař

Camera: Kinifinity Mavo LF
Lenses: Nikon Vintage Primes
Motion Control: Robert’s Macro Gantry powered by eMotimo motion control

Main Unit
Director: Edward Berger
DOP: James Friend ASC BSC

Working closely with Director Edward Berger and DoP James Friend BSC, I worked with two vixens in a set environment to capture the opening scenes of the film.

The Mavo LF was chosen because of the larger format sensor and good low light ability. Vintage Nikon primes were used to match visually with the Arri DNA lenses of the Main Unit. Nikon primes are small, lighter and with good close focus which was important working in a small set.

The camera was rigged on a macro motion control head which is designed and built by Robert and powered by the prototype brain from eMotimo and Brian Burling. The rig is purpose-built for macro live action work allowing the camera to be in the set while operators could be further away reducing impact on the vixen and her cubs.

Lighting was planned carefully months before the shoot and embedded into the set during construction and then controlled by DMX on location.

Prep & pioneering technology

The shots were months in the planning with signifcant details going into the set build and the lighting of the fox den. Everything had to be prepped, planned and tested months before we came to film.

To minimise the disruption to the vixen and cubs we shot in minimal light using the clean high ISO of the Kinifinity Mavo LF with vintage Nikon primes which would cut well with the DNA lenses James was using.

To save clutter and further disruption we mounted the camera on my macro motion control gantry which enabled me to fly the camera silently and remotely in required, even though it would only be needed for reposititioning.