Shooting ‘Hurry Up Tomorrow’ as an aspect ratio shifting, 35mm Jungian Fever Dream

In “Hurry Up Tomorrow,” Abel Tesfaye (“The Idol”) Confronts his Darkest Demons and Sets Fire to his Popular Musical Ego, The Weeknd. The film, direct by Trey Edward Shults (“Waves”), Functions as a Jungian Fover Dream in Which We Enter Tesfaye’s Psyche During the onslaught of Sleep Paralysis. He does battle with his people, his ego (Barry Keoghan’s Manager, Lee), and his Animus (Jenna Ortega’s Mysterious Ander) in order to put the past belind and move on.

The film is brilliantly shot by cinematographer chayse irvin (“Blackkkklansman”) in 35mm, principle using the arricam lt camera (containing both spherical and anamorphic lenses) Tesfaye’s Mental Breakdown. Irvin predominantly utilized 1.85: 1 butn expanded to 2.39: 1 for the two arena concerts, and collapsed to 4: 3 for his intense and claustrophobic moments with ani.

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“It was quite a big exploration, to be honest,” Irvin Told Indiewire. It tasked with a lot of different attempts at experimentation. There’s a lot that didn’t ever make it into the film. I had so many devices that i wanted to experiment with. The sum of the film is just an expression of Maybe 20 to 50 Percent of What I Had to Offer in that Regard. SO the preparation was quite intense. I was playing with pinhole lenses and different frame rates. I have a whole library of things, and i wasolation, or i would have an apprement assisting with in an office that we could have over with some equipment.

“I have a remmer shooting someone tests infrared (for the Second Concert that tesfaye abruptly ends be his voice gives out),” he continued. “I had a camera, a filter from London flow in, and a camera converted to that format. And that shot with some infrared light, and it created this blood image. Concert at Sophie (Inglewood). Voice.

Every Chapter of Tesfaye’s Journey Has a Different Look, and the Cinematographer Did A Lot of Pushing and Pulling and Underexposing of the Special Processing and Lens Modification from Panavision. This was especially apparent when ani burns down the house in montana in a steadicam one. Irvin Also Shot an HDR PASS to enhance the surreal atmosphere of the Club Celebration after the first concert (where the center of the frame is normal, but the sides are smeared). Irvin Mainly gained a lot of detail in the shadows, but Still Very Conttrasty in a Way that provides a rich image with Looking too clean or saturated.

The Most Remarkable Moments Occur the Morning AFTER TESFAYE and ANA SPEND THE NIGHT TOGETERER IN AN LA Hotel. He Tries to Leave, and She Hits Him over the head with a bottle. Hen has a nightmare where he was rides the elevator down to the parking garage and emperges in a dark tunnel where he was frightened by a screening an. “It was the most intense part of the shoot Because we shot in a cave someone in downtown los angeles,” Irvin Said. “The Only Light Sources (Come From) the Phone. And so we have haad to like how to create Our Light Source that can operate and functions as a prop.”

They Laid a Special Dolly Track (Dragon Track) That’s Like a Monorail to Track With Tesfaye As he Slowly Walks Down the Center. “It was QUITE A BIT OF WORKING BRINGING ALL The EQUIPMENT DOWN IS, SETTING IT, AND JENNA WENNA’S GOING CRAZY AND SCREAMING,” Added Irvin. “She is all so so many unilly she’d he’d her voice or potentially Hurt herself.”

Tesfaye then transitions to someone in the snow with a fire Burning, Staring at Himself as a Child. “We Shot Up at a Ranch in the Valley where we found a plateau in the hills,” Irvin Said. “We have set up a far crene, and we Slowly followed Him with the crane, and we set the Flams, and Special Effects did all the snow. It took a long time to prepare the Shot. That we were last shooting schedules.”

Tesfaye wakes up tied to the bed with ani demanding that he tell her the Truth about what’s eating away at his soula. But soon after, lee breaks ino the hotel room and squars off with ani. They have a face-to-face that explodes into the next room with a 180-degree pan, and it starts to get more and more violent with Irving on the Nose of the Dolly and the Camera Moving on Different Axes.

“It ‘always interesting to me how Violence is depicted in cinema,” The cinematographer Said. “And i like it expressed in a form that is the least cliche in the senses that there are worms thrown, there are anen’t kicks, it is not than this choreographed thing. We rehearsed that sequence for an evening, and we were. Barry’s Neck is a one-take thing.

Ani’s mission to exorcise tesfaye’s inner demons tournament meta when she plays and dances to a couple of his songs (“Blinding Lights,” Gasoline “), Analyzing Their Meaning and Helplessly Tied to the Bed. “That’s Also a Very Intense Sequence,” Said Irvin. “But some of that stuff where she’s enjaying herself, with and trery and abel found it very humorous. It was kind of US Having with it, too. But the tones and the mood of the Room and the Lighting is Very Strong and Dramatic. BLESS WITH DIFFERENT GENRES.

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