‘Sinners’ Becomes First IMAX Film Shot by a Female Cinematographer

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‘Sinners’ Becomes First IMAX Film Shot by a Female Cinematographer/ Newslooks/ WASHINGTON/ J. Mansour/ Morning Edition/ Autumn Durald Arkapaw becomes the first woman to shoot a movie on IMAX film with Sinners. Directed by Ryan Coogler, the film blends historic cinema techniques with bold storytelling. The production marks a landmark for female cinematographers.

This image released by Warner Bros. Pictures shows actors Delroy Lindo, from left, and Michael B. Jordan with director-writer-producer Ryan Coogler on the set of “Sinners.” (Eli Adé/Warner Bros. Pictures via AP)

IMAX History Made: ‘Sinners’ Is First Large Format Film Shot by a Woman – Quick Look

Autumn Durald Arkapaw is the first female cinematographer to shoot a film on large format IMAX film.
Sinners, directed by Ryan Coogler, is currently in theaters nationwide.
The film blends IMAX 70mm and Ultra Panavision 70 formats.
Arkapaw consulted Christopher Nolan’s DP Hoyte van Hoytema during pre-production.
Scene highlights include a dialogue-heavy introduction sequence shot in IMAX despite sound challenges.
The project underscores a growing push to bring audiences back to the big screen cinematic experience.
The milestone comes as women remain underrepresented in cinematography, with only three ever nominated for an Oscar.

This image released by Warner Bros. Pictures shows actor Michael B. Jordan, left, and director-writer-producer Ryan Coogler on the set of “Sinners.” (Eli Adé/Warner Bros. Pictures via AP)

‘Sinners’ Sets IMAX Milestone as Autumn Durald Arkapaw Becomes First Woman to Shoot in Format

Deep Looks

CHIBA, Japan (AP) — Autumn Durald Arkapaw didn’t set out to break new ground when she joined director Ryan Coogler’s genre-blending film Sinners. But she has — becoming the first female cinematographer in history to shoot a film using large format IMAX film.

She found out from Kodak executive Vanessa Bendetti, who texted her after the shoot.

“I smiled at the thought,” Arkapaw said. “I felt very proud that Ryan gave me the opportunity.”

IMAX, long favored by directors like Christopher Nolan for its immense detail and immersive depth, wasn’t Coogler’s first choice. He had planned on 16mm film for Sinners, a story about vampires, the blues, and Black life in the Jim Crow South. But after a conversation with Warner Bros. executive Jesse Ehrman, Coogler reconsidered — inspired by the chance to make a truly theatrical experience.

“It’s nice to have a format like IMAX that can be an experience you can only experience in the theaters,” Coogler said.

Testing the Format

The decision to go with IMAX wasn’t taken lightly. Coogler and Arkapaw screened 70mm prints of 2001: A Space Odyssey, The Hateful Eight, and Tenet as part of the research process. They also sought advice from Hoyte van Hoytema, the Oscar-winning cinematographer behind Oppenheimer.

“He told me to shoot it like any other camera,” Arkapaw said. “That was incredibly freeing.”

Ultimately, Coogler and Arkapaw chose a combination of IMAX film and Ultra Panavision 70, the latter famously used by Quentin Tarantino in The Hateful Eight. Different scenes in Sinners were assigned different aspect ratios based on their tone and cinematic needs.

“It really complements the story, the setting, and the filmmaking,” Coogler said in a Kodak interview.

One Scene, One Format

One of the most memorable sequences — the introduction of Jack O’Connell’s Irish vampire Remmick — wasn’t initially slated for IMAX. It was dialogue-heavy, and the format’s camera noise presented issues. But Coogler, known for pushing technical boundaries, made the call.

“I can’t see that scene in any other format now,” said Arkapaw, describing a sweeping sunset sequence with crane shots and Steadicam movement that felt like a classic Western.

Breaking Industry Barriers

Arkapaw’s milestone is significant in a field where women are still rare. Only three women have ever been nominated for the Academy Award for Best Cinematography — Rachel Morrison (Mudbound), Ari Wegner (The Power of the Dog), and Mandy Walker (Elvis). None have won.

“I heard a phrase that said you need to see you to be you,” Arkapaw said. “The more women shoot on large format, the more young girls will believe they can get there.”