Explore How KODAK 35mm Was Used to Bring ‘Twisters’ to Life


This post is by Sunny Shrestha from No Film School

While we’re still eagerly waiting to experience Twisters on the big screen, we are getting plenty of behind-the-scenes featurettes sharing quite a bit about the filmmaking process. And, from these previews, we’re just getting more and more excited, to be honest.

In a new featurette put out by KODAK, we get some really cool insights into how Twisters was shot in the classic cinema style on KODAK 35mm. You can check out the video yourself below, but would also highly recommend reading this full interview piece with DP Dan Mindel which goes over a lot of his decisions for the film.

Overall though, the KODAK 35mm looks excellent and is a great reminder of how shooting real film can be the best way to truly capture the cinematic experience for the big screen.


Shooting ‘Twisters’ on KODAK 35mm

Directed by Lee Isaac Chung (best known as the Oscar-nominated writer-director of Minari) and shot in 4-perf widescreen on KODAK 35mm film by DP Dan Mindel BSC ASC SASC, Twisters stars a leading cast including Daisy Edgar-Jones, Glen Powell, and Anthony Ramos who come together to take on the immense power of tornados.

Here’s DP Dan Mindel on the initial inspiration for the project:

“From the moment I read the script and chatted with Isaac, I was really excited about filming Twisters. I liked the fact that it could be a conversation starter about climate change, an issue we all need to take seriously, and also that, being an edge-of-the seat thriller, it was going to need a determined collaborative effort between departments to get it made. The momentum and urgency of this kind of travelog filmmaking was right up my street.”

The KODAK interview also reveals what cameras and lenses were used for the project:

Mindel selected Panavision Millennium XL, ARRIFELX 435 and 235 35mm film cameras for the production, with digital camera arrays for VFX plates and some of the aerial work. He chose Panavision Primo Anamorphics for the mainstay of the shoot, supplemented with C-series and T-series Anamorphic lenses. The cameras and lenses were supplied by Panavision, Woodland Hills, LA.

And which film stocks were selected for the film as well:

As for filmstocks, Mindel went with KODAK VISION3 50D Color Negative Film 5203 for day exteriors, VISION3 250D Color Negative Film 5207 for the interior car work and VISION3 500T Color Negative Film 5219 for the film’s low-light/nighttime sequences. Film processing and dailies were done at FotoKem under the auspices of Mark Van Horne, director of production services, with 4K scans passed to Company3 in Los Angeles, where senior colorist Stefan Sonnefeld conducted the final grade.

You can read the full interview piece here, which goes much more in-depth into the cinematography.