Cinematographer Haris Zambarloukos, BSC, GSC on Artemis Fowl

Based on the series of novels by Eoin Colfer, the feature Artemis Fowl finds its namesake a precocious, hyperintelligent 12-year-old boy (played by Ferdia Shaw) just after his father (Colin Farrell) has gone missing from their estate in Ireland. Young Artemis soon finds the first in a trail of clues that, in leading him back to his father, will also unlock a magical world populated by fairies, trolls and other creatures the young boy had thought to be merely the stuff of legend and myth.

Artemis Fowl was cinematographer Haris Zambarloukos, BSC, GSC's sixth feature collaboration with director Kenneth Branagh; their seventh, Death on the Nile, is slated for release later this year. Over the course of their collaboration, Zambarloukos notes, There's a trust that's built up, an understanding, a similar love of storytelling, certain social views that you want to share in filmmaking and that then enrich a professional friendship. That's what it's become: a very rewarding professional friendship. We push each other and encourage each other very well.

As prep got underway on Artemis Fowl, Branagh and Zambarloukos looked at a wide range of visual references, including a certain type of entertaining storytelling in the vein of Spielberg and Indiana Jones, where things have a breadth and happen quickly, the cinematographer says. Inspired by the same Irish mythology from which Artemis Fowl draws, the filmmakers also looked to nature itself. The documentary series Blue Planet II became a really big influence and provided our references for [the subterranean] Haven City. We were going to the natural world to get something extremely fictional and that was always the case with Irish mythology, which had its roots in a love of the Earth, in a natural beauty that blends into a more magical beauty.

The filmmakers considered shooting on 65mm film but ultimately opted for anamorphic 35mm, working primarily with Primo anamorphic primes. Ken was talking about a fast-paced camera, and [the Millennium XL2 35mm camera system allowed for] a few more tricks up our sleeve, Zambarloukos shares. But we still wanted the extreme high fidelity and immersion that you have from 65mm, and we found a middle ground between traditional 35mm and 65mm by using Primo anamorphics and, as much as we could, lower ASA film, Kodak's 200T [Vision3 5213, for day interiors] and 50D [5203, for day exteriors], and we only went to 500T [5219] when we needed it.

Zambarloukos sourced his camera and lens package with the help of Panavision's Hugh Whittaker and Charlie Todman. Supplementing the Primo anamorphics, the production carried G Series primes primarily for Steadicam shots, operated by Stamos Triantafyllos and select other optics. In picking his lens package, the cinematographer followed what he calls his standard procedure. He explains, Charlie Todman, 1st AC Dean Thompson and I will sit in the lens-projection room at [Panavision's facility in] Greenford and project as many lenses as we can to pick our sets. Despite going Primo, I still look for a teeny bit of falloff on the edges, and the extreme sharpness in the middle.

On set, the cinematographer predominantly used focal lengths in the 35mm to 75mm range, he says. We definitely went wider, but that midrange is where you spend most of your time, especially with kids. That's where the human eye sits, really.

Principal photography on Artemis Fowl took place in 2018, with the majority of the shooting done at Longcross Studios in Chertsey, England. There, the production built Fowl Manor the mansion home to the film's eponymous hero as a self-contained location, with a fully realized interior and exterior that allowed the camera to roam from inside to outside and back in continuous shots, Zambarloukos explains.

It took a lot of planning to give Haris and Ken full rein to shoot where they wanted to at any time, says gaffer Julian White, whose collaboration with Zambarloukos traces back to the 2004 feature Spivs. HMIs were positioned on cranes outside to push hard daylight into the house interior, while bi-color LED banks were rigged to provide an aggressive soft light through the huge windows, White notes. Inside, he adds, Rigging gaffer Dan Lowe and his team installed a steel rig in the ceiling very much like you would have on a traditional stage, which meant that electric hoists could be added and repositioned quickly. The whole set was installed with a full electrical three-phase system and Wi-Fi control.

On top of all that, Zambarloukos says, practical lighting was done hand in hand with Jim Clay, our production designer. So Julian White, Dan Lowe and practical electrician Joe McGee made a plan and fitted out the house [with bi-color LEDs] so everything was DMX-able, everything had temperature control, and everything went back to the same [lighting console]. The overall approach to Fowl Manor allowed Zambarloukos to shoot inside with the 200 ASA stock at his preferred stop of T4.

The production's lighting package was sourced through Panalux. With Ken, we do these really intricate, difficult sets and studio pictures that require you to rethink everything every time, the cinematographer says. It's so bespoke; there's no set way of doing this. No one's built a house like that for a set, three stories high, inside and out, all functioning, all lit. So when we go to Panalux and we say, Can we do this?' we all start together. And there's a fantastic sense that, Of course we can,' and please come and test.' It's a team effort.

We spent a lot of time testing and sourcing the right materials, White adds. Rob Garvie, Paul Dooley and the Panalux team were fantastic in their support from prep through to finish. The movie was never straightforward in its

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