Abstract
When the renowned cinematogr apher Emmanuel Lubezki began planning to shoot the wilderness drama The Revenant, he decided that to capture the stark, frozen beauty of a Canadian winter, he would use no artificial light, instead relying on sunlight, moonlight, and fire. He also planned to use traditional film cameras for most of the shooting, reserving digital cameras for low-light scenes. He quickly realized, though, that film didn't have the sensitivity to capture the scenes we were trying to shoot, especially the things we shot at dawn and dusk, as he told an interviewer.
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