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Two films, one lesson: the gear was never the flex. Tangerine was shot on three iPhones and a $8 anamorphic adapter — and it played Sundance. The Revenant was shot on one of the most expensive cinema camera bodies ever built, in natural light only, in brutal cold. Same argument, opposite budgets: the discipline to fight a tool's defaults is the only technical flex that was ever real.
Inglés
Estados Unidos
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