On one hand, we have cameras that can practically see in the dark; on the other, top-tier directors are resurrecting 70-year-old film formats that are literally held together by gears and grease. As a cinematographer, I can tell you: it’s not about having the "best" camera anymore—it’s about having the camera with the most soul.
Let’s look at two movies that just changed the game: One Battle After Another and Civil War.
1. The "Kobe Beef" Hamburger (VistaVision)
In One Battle After Another, Director Paul Thomas Anderson and DP Michael Bauman did something radical: they went backward to go forward. They used VistaVision, a format from the 1950s where the 35mm film travels through the camera horizontally instead of vertically.1
Why does this matter? Because it effectively doubles the size of the picture. It’s high-resolution, deep, and incredibly detailed. Bauman calls it the "Kobe beef" of film.3 But here’s the kicker: they didn’t want it to look perfect. They used this ultra-high-quality format and then "roughed it up" to look like a gritty 1970s thriller.4 It’s like buying the world's most expensive steak and cooking it over a campfire—it gives you a "texture" that digital cameras just can’t replicate.4
2. The "Chicken-Head" Robot (DJI Ronin 4D)
While Bauman was going vintage, Rob Hardy was going futuristic on the set of Civil War. He used a fleet of prototype DJI Ronin 4D cameras.5
If you’ve ever seen a video of someone holding a chicken while its head stays perfectly still as they move the body—that is exactly how this camera works. It has a motorized "Z-axis" that cancels out the bounce of a cameraman’s footsteps.5 This allowed the crew to sprint through "war zones" and get what Hardy calls "instant elegance"—shots that look like they were filmed on a $100,000 crane, even though the operator was just running with a 12-pound rig.5
3. The Digital Beast (Sony VENICE 2)
Of course, you still need a "bedrock" camera, and for many, that’s the Sony VENICE 2.6 This thing is a powerhouse. It has an 8.6K sensor that captures 16 stops of dynamic range.7
In plain English? It can see details in the brightest sun and the darkest shadows at the same time.8 In Civil War, they matched this "cine beast" with the tiny Ronin 4D so perfectly that you can’t even tell which shot is which.6
4. "Happy Accidents" and Natural Light
The biggest trend isn't actually a gadget—it’s a philosophy. Both films embraced improv and natural light.
On One Battle After Another, Michael Bauman (who started as a legendary gaffer) kept his lighting "footprint" tiny.4 Instead of massive stadium lights, they used practical neon tubes and real lamps already on the set.4
When Leonardo DiCaprio or Benicio Del Toro would improvise—like the time a curtain accidentally fell down during a scene—the camera was ready to "jazz" with them.12 They didn't stop to fix the curtain; they kept rolling because that "happy accident" felt more real than a scripted moment.12
The Bottom Line
Whether it’s a 70-year-old horizontal film camera or a 4-axis stabilized robot, the goal is the same: Immersion. We are moving away from the "perfect" digital look and heading toward something more "abrasive, authentic, and alive".5
The next time you’re at the movies, look for the grain, the "roughness," and the way the camera moves. That’s not a mistake—that’s the art of the capture.
Want more behind-the-scenes? Follow us for more deep dives into the gear that makes the magic happen. 🎥✨ #Cinematography #Filmmaking #OneBattleAfterAnother #CivilWarMovie #SonyVenice2
Works cited
DP Michael Bauman on One Battle After Another's improv style, accessed February 12, 2026, https://www.camnoir.com/ep343/
Lensing and Editing "One Battle After Another" - SHOOTonline, accessed February 12, 2026, https://www.shootonline.com/article/lensing-and-editing-one-battle-after-another/
The Cinematography Podcast, accessed February 12, 2026, https://podcasts.apple.com/at/podcast/the-cinematography-podcast/id812436884
Revolution and Revenge: 'One Battle After Another' - American Cinematographer, accessed February 12, 2026, https://theasc.com/articles/one-battle-after-another-cinematography-bauman
Civil War: Chronicling… - The American Society of Cinematographers, accessed February 12, 2026, https://theasc.com/articles/civil-war-chronicling-chaos
Scene Deconstruction with Rob Hardy ASC, BSC - Pro Sony, accessed February 12, 2026, https://pro.sony/en_GB/cinematography/cinematography-tips/scene-deconstruction-rob-hardy-civil-war
Sony VENICE 2, accessed February 12, 2026, https://sony-cinematography.com/venice2/
SONY VENICE 2: In-depth Feature Walkthrough - Sony Cine, accessed February 12, 2026, https://sony-cinematography.com/articles/video-get-to-know-the-sony-venice-2-inside-and-out/
Shot on VENICE 2: Extreme Filmmaking with Renan Ozturk - YouTube, accessed February 12, 2026, https://www.youtube.com/watch?v=l00_fEda0AY
Scene Deconstruction with Rob Hardy, ASC, BSC - Pro Sony, accessed February 12, 2026, https://pro.sony/ue_US/insight/cinematography-tips/scene-deconstruction-rob-hardy-civil-war
The Cinematography Podcast, accessed February 12, 2026, https://podcast.show/cinepod/episode/55889481/@cinepod/
Civil War: Filmed for IMAX on the DJI Ronin 4D and Sony VENICE 2, accessed February 12, 2026, https://ymcinema.com/2024/03/25/civil-war-filmed-for-imax-on-the-dji-ronin-4d/
Happy Accidents, Revolutionary Moments, & Killer Improv: Inside "One Battle After Another" With DP Michael Bauman - The Credits - Motion Picture Association, accessed February 12, 2026, https://www.motionpictures.org/2025/10/happy-accidents-revolutionary-moments-killer-improv-inside-one-battle-after-another-with-dp-michael-bauman/
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