How Emmanuel Lubezki Shot The Revenant

The Revenant has some of the most jaw-dropping cinematography of any film from the past decade, Lubezki somehow makes us feel as though we are on an adventure with Hugh Glass, and today I have a look at how he did it.

In today's video I look at the equipment Chivo used, the lack of lighting throughout, how he created the cold yet alluring look, as well as the lengthy DI process.

As always if you have a recommendation for an analysis, let me know below!

Timeline:
00:00 Introduction
00:38 Equipment
03:08 The (Lack of) Lighting
05:55 The Look
09:25 DI Process
10:38 Conclusion

Music:
Alone - Emmit Fenn
Deep Space - Audionautix
Inexorable - Kevin MacLeod
Noir Et Blanc Vie - Knowpe
Dance Of The Sugar Plums - Tchaikovsky

[blaisetelfer]

It's baffling that most people only mention this film in the context of Dicaprio getting an Oscar. The entire thing is masterful and, along with Fury Road and Embrace of The Serpent, was the best of 2015.

[xX_Kino_Xx]

Man I loved it because he captured what I’ve seen in real life. The vast views. The fire at night on snow. Foggy quiet mornings while elk hunting.. I mean that first shot of them hunting is just quintessential feel of what it’s like to be out there alone.. in the wet and snow.. hearing a bugle.. THAT.. that is why I go hunting. To be human again like we use to. And be out in nature like we use to.

[AllThingsFilm]

Thanks so much for covering The Revenant. It's quite impressive how Chivo opted for using little to no artificial lighting for this film. As someone who was a visual effects artist on 40+ feature films, I would love to see the process Chivo went through to relight and grade the movie, and what VFX were used to enhance the imagery. Maybe there's a blu-ray out there with such features. Great video. Of course, I would love to see your coverage of The Batman (2022), which I feel had the best cinematography of the Batman films.

[bernardkane]

If you like winter this is your movie!

[dougdina]

Great summary. I happened to be re-watching it again and took a pause to watch your video.

[williamcurwen]

I have only watched The Revenant on a laptop. It was like looking into an animated painting. Having spent a lot of time in a similar environment, I can only say the natural light really does get to you, like as if you become invisible. I was never aware of the camera, the story gripped me completely, and never even recognised Tom Hardy. When the light is as good as what we see here, it becomes the subject in its own right, and the characters become subordinate. It is a film I will watch once every five years - honestly, it is that good. A great video, and I just love hearing your analysis of cinematographers work. 👍

[samircacan]

Love it. Tnx for leaving out film dust from past two videos. It is much more comfortable to watch it this way. I realy appreciate it! Keep up the good work

[rockhero]

I had an opportunity to go to a screening. Seeing it on the big screen was intense and amazing. There was a Q and A after with Iñárritu and DiCaprio.

[TobyEdits]

Such an underrated channel! Really interesting stuff you're putting out there :D

[ericchouinard]

Superb analysis. Structured and entertaining.
Thank you!

[connor]

From what I remember they only used the Alexa 65 for the scenes in the final act that they filmed down in Argentina because for the majority of the shoot the camera wasn't even available yet.

[FilmForger]

I'm impressed with not using artificial lighting.... but where there any white cards used to bounce light onto the actors?

[KenFlanagan]

I couldn’t disagree more with the basic premise of this review that the use of the wide creates a realistic (as if you were there) vibe. The long dream sequences long vistas and the very musical score makes this a much more contemplative poetic film. The use of the wide as when used for Malik is overt not covert and like bird man there is nothing naturalistic about it at all. I don’t know where the reviewer is getting this info from and regardless of what the director intended it simply isn’t the case on viewing. The sheer fidelity of the 65 gives a massive visceral boost but it is wholly countered by the lens choice and the extreme close ups. The natural light was a feature but it is used so painterly and dramatically that again it screams auteur not realism. The result apart from the lack of dialogue leaves the characters distant and cold and although the sheer intensity of the protagonists suffering and the constant juxtaposition of the elements make the film visceral I found it hard to care for anyone much apart from the goodly captain who at least created a central thread of decency and moral compass. The film is an accomplishment of endurance for sure in filming that way and in its narrative but I’m not sure the story of the protagonists good v evil was really sophisticated enough to warrant the praise this film garnered whereas bird man seems by comparison a work of genius with far more complexity and so to me felt always surprising and far more rewarding a film. Just a thought.

[fegu]

I know this is beside the points you're making but 5:28 looks sus. Absolutely looks like he's in front of a blue screen.

[bibhuranjandutta]

Cushion of lights means.... please explain sir

[thour]

This is awesome but the thumbnail could've been better