One of these techniques involved letting the camera interact with the environment, such as using a silicone filter to make it look like the lens itself got wet. This technique has been used before, such as in The Revenant, where mud and condensation from breath were used to dirty up the lens. The Revenant (2015)

So we needed to create a series of images that were equally iconic and comic book in their simplicity, and use all the skill, resources and technology available to us to properly fill-out the world from a production and costume design standpoint. The detail on the bat-suit is incredible. But the film has lots of amazing VFX done by Weta and ILM and other vendors, that are really invisible. We shot it over three months, and we also used some disposable old Alexa cameras instead of the normal crash cams, and used some re-housed special lenses.

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Enter, then, collaborators such as David Cole from post-production vendor Fotokem and DIT Dan Carling, willing to match the vision of Fraser and Reeves. Additionally, the legendary Batcave was inspired by the train station built beneath New York’s Waldorf Astoria Hotel, so VIPs could surreptitiously travel by train in case of an emergency. “I always loved that idea that there was a secret station, and so it made sense that the Wayne family would have their own private station under Wayne Tower,” Chinlund said. It also perfectly fits Wayne’s more modest DIY mode of invention for making gadgets and weapons.

In contrast, The Batman maintains a sense of realism throughout. From start to finish, there’s never a moment that screams “blue screen” or “CGI overload.” The ARRI ALFA anamorphic lenses used on The Batman were created specifically for large-format cinematography and were modified from a set of ARRI Master anamorphic primes. The base lenses were not only adapted to cover the larger format but were redesigned and detuned to Fraser’s specifications. Removing Redundancy: Cutting out repetitive scenes, dialogue, or descriptions that don't add to the story. Redundancies can slow down the pace and bore the audience. Fraser was invited into Society membership in 2013, with recommendations from ASC members Roger Deakins, Rodney Taylor, Mandy Walker and Steven Fierberg.

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For those who are looking for a little more of a project, it’s worth looking at the Lomography Konstruktor F - a fun build-it-yourself kit that gives you all the parts you need to assemble a fully functional 35mm SLR film camera in a matter of hours. This earlier project shares many stylistic similarities with The Batman, showcasing Fraser’s ability to adapt his visual storytelling techniques across various genres while still maintaining his own unique voice. Killing Them Softly (2012)

The cinematographer felt that he could accentuate the subconscious effects he was going for by employing a technique that had worked well for him on Andrew Dominik’s “Killing Them Softly,” wetting the streets and sets in every scene as though it had just rained. “When everything is wet you subconsciously register that it’s constantly raining, that the city never dries,” Fraser explained. “It underlines that it’s a very difficult place to live in.” They did active things, like wetting the streets in every scene so the city always looked like it had just rained. The computer may have pinpointed this spot but now you’re about to shoot I think we need to be on a different lens. VR doesn’t give you the emotionality of lenses - it just gives you the mathematics of the field of view,” he says. “Any cinematographer knows that lenses create an emotional connection to the audience and on the day if the lens that we had pre-vized didn’t give that emotionality we changed it.” The award-winning Dune cinematographer discusses his history, career and philosophies — and shooting The Batman. Caption: COLIN FARRELL as Oswald Cobblepot/the Penguin in Warner Bros. Pictures’ action adventure “THE BATMAN,” a Warner Bros. Pictures release.Meaningful Character: Writers focus on developing a few well-rounded characters instead of crowding the narrative with many underdeveloped ones. Each character in the story has a distinct purpose, whether it's driving the plot forward, revealing key themes, or contributing to the protagonist's journey. Here’s Sony President and COO Neal Manowitz breaking down this new tech and why it’s coming out now. “While the rapid evolution of generative AI (Artificial Intelligence) brings new possibilities for creative expression, it has also led to growing concern about the impact of altered or manipulated imagery in journalism. The dissemination of false information and images has real world social impact that brings harm not only to our photojournalist and news agency partners, but to society as a whole. We care deeply about this challenge and are committed to using our resources to help solve it.” — Neal Manowitz, President and COO of Sony Electronics.