Cinematographer Autumn Durald Arkapaw made history as the first female director of photography to shoot a film on large format IMAX film with Ryan Coogler’s latest project, “Sinners,” currently in theaters across the nation. The groundbreaking moment was shared with her by Vanessa Bendetti from Kodak, marking a significant milestone in her career.
Arkapaw expressed her pride in being given the opportunity by Coogler to work with such an esteemed format. Known for its high resolution and shallower depth of field, the IMAX format has gained traction not only among directors but also moviegoers. While Coogler originally considered using 16 mm, it was a suggestion from Warner Bros. executive Jesse Ehrman that prompted the switch to large format as a means of enhancing the cinematic experience.
Coogler emphasized the importance of creating a theater-exclusive experience with IMAX in an era dominated by streaming services and small screens. To prepare, he and Arkapaw conducted comprehensive tests, evaluating 70 mm IMAX prints from classics and consulting with Christopher Nolan and Hoyte van Hoytema, who are well-versed in the format.
The vibrant film “Sinners,” which explores themes surrounding vampires, blues, and the backdrop of the Jim Crow South in 1932, seemed a perfect fit for the larger-than-life appeal of IMAX. Arkapaw, familiar with shooting on IMAX digital for “Wakanda Forever,” was excited about the opportunity to explore true IMAX film. Advice from Hoytema included treating the substantial IMAX equipment like any standard camera, enabling a liberating filmmaking process.
Ultimately, the production employed a mix of IMAX film and Ultra Panavision 70, a seldom-used format that was revived for “The Hateful Eight” by Quentin Tarantino. This provided varied aspect ratios for different scenes, enhancing the storytelling and setting. Coogler provided a detailed explanation of this approach in a video for Kodak.
One memorable IMAX scene, initially planned differently due to its dialogue-heavy nature and the noisy equipment, involved the introduction of Jack O’Connell’s Irish vampire Remmick and a pursuit by the Choctaw. The scene was crafted with elements of a Western, set against a dramatic sunset, complete with crane work and atmospheric Steadicam shots.
The release of “Sinners” invites audiences to experience the allure of its unique formats, both IMAX film, and digital, in theaters. Michael B. Jordan, a star of the film, emphasized the film’s role in drawing people back to cinemas, highlighting its designed intent for the full moviegoing experience.
Reflecting on her journey in cinematography, Arkapaw acknowledges the progress made in the industry. Where once female cinematographers were few, notable figures such as Ellen Kuras inspired her early on. The field has evolved, with increased female representation, though recognition such as an Oscar remains a challenge. To date, Rachel Morrison, Ari Wegner, and Mandy Walker have been the only women nominated for the award in cinematography.
Arkapaw is deeply aware of her role in paving the way for future generations. “I heard a phrase that said you need to see you to be you,” she remarked, emphasizing the importance of fostering representation. By achieving success in large format cinematography, she aspires to inspire young girls to pursue similar ambitions in the field.