Ostermann oversaw portions of the season with director of photography Philip Blaubach, BSC. There were some changes from Season 1 to Season 2, including new directors Matthias Glasner and Rick Ostermann. We knew the audience’s eyes would need time to adjust from the dark world in the boat to this brighter, more normal environment, and back again.” The land scenes are more classic, but at the same time, I wanted to keep them naturalistic so that the transitions from the sub to this different world are not too jarring. ![]() I used pearlescent filters and lots of gentle smoke in order to feel the beams of light. ![]() “For Season 1, there’s more crane work with classical composition, and we shot on V‑Lite 1.3x Anamorphics. “The scenes on land are shot completely differently,” says Luther. He controlled color temperature in a handful of basic moods including tungsten (approximately 2800 degrees Kelvin), and daylight (4800 degrees Kelvin) – mixing blue and red for scenes of panic or fear. We mainly used Alexa Mini cameras handheld, in a documentary style at first, and often very close to the actors.”įor Season 1, Luther and his team spent 60 days of the 104-day shoot on a complex, gimballed submarine set, using Cooke S2 lenses and stayed with only two focal lengths – the vast majority on the 32 mm, and, to heighten the tension at key moments, the 40 mm. “Normally a submarine is painted white or a light color, but we kept it dark and somber, like a kind of sea coffin, in part to pay homage to the original. “In the submarine, it was very important to us to maintain the darkness,” says Luther. Luther and his directors discussed the original film extensively during preproduction, but were not slavishly devoted to a literal interpretation. That called for a dual approach to the cinematography. ![]() The show cuts between action in the sub and scenes of the Resistance in wartime France. Shot by Luther in part with Hawk V‑Lite 1.3x Anamorphics and V‑Plus zooms, Luther’s work was honored with the Best Cinematography prize at the German Television Awards as well as the German Camera Prize, where the jury’s statement read in part: “Luther's camera work reveals a sensitive approach to the characters, subtly supporting the dramaturgical twists of a gripping story. In the harmonious interplay of camerawork and lighting design, Luther develops an independent, sovereign and modern visual language that respectfully commends the original and at the same time sets its own accents to present a contemporary reinterpretation and consistent continuation of the story.” Season 1, consisting of eight hour-long episodes, premiered in Germany in November of 2018 on Sky and made its U.S. This time around, Vantage One T1 lenses from Vantage play a central role in the cinematography. Now, director of photography David Luther has been working on the second season of an updated Das Boot, a sequel series for television set nine months after the events of the original. Jost Vacano’s Oscar-nominated camerawork – famously accomplished with a handheld Arriflex camera he adapted for the project – instills a sense of dread in the audience, and is still referred to by filmmakers who want to communicate sweaty, claustrophobic intensity. ![]() Das Boot, the 1981 Wolfgang Peterson film, is a landmark in cinema history.
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