Florence + the Machine Complete The Odyssey on Film

  • November 03, 2015

Florence + the Machine just released their sixth and final music video to complete an installment based on The Odyssey, which covers six tracks on their album of the same name. Park Pictures director Vincent Haycock and cinematographer Steve Annis chose to shoot the entire series, which included locations in Mexico, Los Angeles, Scotland and London, on KODAK Film.

Annis says, “We ran with a mix of stocks from the (KODAK VISION3) 50D (Color Negative Film) in extreme sun to the (KODAK VISION3) 500T (Color Negative Film) in the darkest of corners, shooting 16mm, 35mm spherical and 35mm anamorphic to give us many different looks and emotions for Florence.” 

Haycock and Annis have collaborated on previous projects. "When I first met Vince, his love of film was obvious,” Annis adds. “We shot five Calvin Harris videos on 16mm all over the world. The cameras are so simple and the look is unique, unlike anything available. The first time we both worked with Florence was on 16mm for the ‘Sweet Nothing’ video, and then we chose 2-perf 35mm for ‘Love to Lover.’ Of the dozens of promos I've shot with Vince, only one has been HD [because we couldn’t afford to ship the stock and cameras to a location that didn’t have a lab readily available]. Vince surrounds himself with smart producers, and my guess is the first thing they budget for is celluloid and the rest of the budget falls in place around that. If only we all worked this way – film would be more alive than it's ever been!” 

“We knew from the beginning that the scope of the project was going to be big, we were going to be in all kinds of environments, and lighting conditions from lit sets in Los Angeles to natural light on a boat crossing between two Scottish islands,” explains Haycock. “It was always a mandatory thing for me to shoot film; I never even considered digital. In my opinion, it couldn’t have been done as easy and beautifully on digital. Film gave us freedom and a guarantee that it would look amazing even if we didn’t have any lights. Also, we really wanted a timeless unique look to the project. For me, that was the most important reason for shooting film. You can control the look, whereas digital has a built in look that has started to feel the same across the board.”

The camera packages were from Panavision Hollywood and included Millennium and ARRI 435s mounted with Ultra Speed MKII and G Series anamorphics. 

Watch all The Odyssey videos below:

Chapter 1)
KODAK VISION3 200T Color Negative Film 5213 with a mix of spherical and anamorphic 35mm 

Chapter 2)
KODAK VISION3 200T Color Negative Film 5213, with spherical 35mm

Chapter 3)
KODAK VISION3 200T Color Negative Film 7213

Chapter 4 & 5)
KODAK VISION3 50D Color Negative Film 7203 and KODAK VISION3 200T Color Negative Film 7213

Chapter 6) DELILAH
KODAK VISION3 Color Negative Film 5219 and KODAK VISION3 200T Color Negative Film 5213 in spherical 35mm