Examining The Purposeful 'Train Dreams' Camera and Lens Choices

I think that Train Dreams might have been the visual movie of the year for me. I have put it on so many times just to steep in its world and to gobble up the imagery on screen.

We've already gone over the cinematography of Train Dreams , but today I want to dive into the camera and lens choices that made the movie possible.

Cinematographer Adolpho Veloso leaned into the raw power of natural light and high-end sensor technology to capture a period-accurate, visceral look.

In the video below, he discusses the specific gear choices that allowed him to shoot scenes lit by nothing more than a single candle.

Let's dive in.

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Why the ALEXA 35?

The backbone of the production was the ARRI ALEXA 35, thanks to these two primary factors: form factor and dynamic range.

The camera's 17 stops of dynamic range allowed the production to tackle incredibly tricky lighting setups, like shooting indoors while maintaining a perfect exposure for the bright natural light outside.

Another big pro was the compact nature of the ALEXA 35, which made it easy to get into tight spaces and to carry around for shots in the woods.

For filmmakers, the lesson here is that if you’re working with a high-dynamic-range camera like the ALEXA 35, don't be afraid to push it. Use that latitude to capture high-contrast scenes that would have previously required massive lighting rigs to balance.

Kowa Prominars vs. Super Speeds

Another filmmaking lesson comes from the kinds of lenses they used and why they picked them. You don’t need one set of lenses to do everything.

Veloso utilized two sets of lenses to handle the film's contrasting environments:

• Kowa Prominar Spherical Lenses: These were the primary choice for daytime exteriors. Veloso loved their "beautiful sun flares," which added a sense of "magic" to the film’s many outdoor scenes. The trade-off? They are relatively "slow" lenses (f/4), making them difficult to use in low-light.
• Zeiss Super Speeds (f/1.3): When the sun went down, the team switched to Super Speeds. They have a fast aperture of f/1.3, so these allowed Veloso to shoot "as is" without adding artificial light. And to get those stunning dark shots.

Summing it All Up

Sometimes the most cinematic look comes from removing the lights, not adding more. If you have the right camera and glass, you can let the natural sources do the heavy lifting and get something unique and spectacular.

Let me know what you think in the comments.