Why Phedon Papamichael Shot A Complete Unknown at ISO 12,800
When it comes to making movies, lighting has always been a big deal—it sets the mood, creates emotion, and shapes the story on screen. But thanks to some incredible advancements in camera tech, filmmakers are now exploring techniques that weren’t possible before. A perfect example of this is Phedon Papamichael’s work on A Complete Unknown. He decided to film large portions of the movie at ISO 12,800—a setting that many cinematographers might avoid like the plague. So, why did he go for it? Let’s break it down.
Who Is Phedon Papamichael?
If you love movies, chances are you’ve seen Papamichael’s work. He’s the guy behind the camera on films like Ford vs Ferrari, Trial of the Chicago 7, and Nebraska. For A Complete Unknown, he wanted to try something different. Shooting at ISO 12,800 wasn’t just a technical choice—it was part of the film’s unique look and feel, making waves among filmmakers and fans alike.
Why ISO 12,800?
Traditionally, shooting at such a high ISO is considered risky. It can lead to grainy footage, noise, and a general drop in image quality. However, Papamichael embraced ISO 12,800 because of the Sony Venice 2 camera´s capabilities
With the Venice 2, he could capture incredible detail in low-light conditions, allowing him to minimize artificial lighting. This created a more natural and immersive atmosphere for A Complete Unknown. By using higher ISOs, Phedon Papamichael gained greater control over focus and depth, giving the film a visually richer, more layered look.
Want to see it in action? Check out this clip from the Potato Jet Youtube Channel and witness how ISO 12,800 was used in the film.
A New Way to Light a Scene
Instead of adding more light to brighten the scene, Papamichael took the opposite approach—he focused on subtracting light. Using shadows and selective lighting, he created a moodier atmosphere. This approach is only possible now because of the incredible sensitivity of modern cameras like the Venice 2.
With less reliance on heavy lighting setups, he also had the freedom to shoot at deeper stops (like f/8 or f/11). This added sharpness and depth to the visuals, making everything feel more alive and textured.
Bringing Film Back into Digital
Even though the movie was shot digitally, Papamichael wanted it to feel like it was filmed in the ’60s. To get that vibe, he used a process called "Shift AI Analog Intermediate." Basically, the digital footage was transferred to actual film stock and then scanned back into digital.
The result? A mix of modern sharpness and classic film texture. As Papamichael put it, “It’s not just about making it look like film; it’s about making you feel something.”
Phedon Papamichael on Working with Actors
Papamichael’s laid-back style extends to his work with actors too. Take Timothy Chalamet, for example. If Chalamet decided to sit in a part of the room that wasn’t “perfect” for lighting, Papamichael let it happen. Why? Because it made the performance feel more natural.
Instead of forcing every shot to be perfectly lit, he adjusted the lighting to match the moment. For one scene in Chalamet’s apartment, he used just two hard lights along with the natural daylight streaming in. The result was intimate and authentic—a far cry from over-staged setups.
Why Phedon Papamichael ISO 12,800 Is a Game-Changer
Papamichael’s approach to A Complete Unknown shows how far cinematography has come. By pushing the Sony Venice 2 camera to ISO 12,800, blending digital and analog techniques, and prioritizing simplicity in lighting, he created a visually stunning film that serves the story above all.
For filmmakers, it’s a great reminder: fancy tools are awesome, but it’s how you use them to tell a story that matters most.
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