Of his experience with Allen, Storaro said, “We decided to enter the digital world together, and I have to say that from the beginning we found ourselves very comfortable.”
In fact, digital had added benefits for the director, in that he could monitor the film in a way previously not possible. (Storaro quipped, “In Apocalypse Now we were waiting for two weeks to see dailies. They were were weeklies, not dailies.”) Today, he shoots with a high dynamic range monitor on set and uses ACES color techto make sure that his directors are seeing an accurate picture.
Storaro insists that he didn’t change his approach or his lighting setup for digital work. “Of course,” he notes, “I selected a camera that was close to my personality, with the level of performance in quality and color shade and close to the one that I loved for almost 20 years,” which was the Arriflex 535B.