The cinematography of A Minecraft Movie

With a star-studded cast including Jack Black, Jennifer Coolidge, Jason Momoa and Danielle Brooks, the beloved video game Minecraft has made the leap from pixelated screens to the silver screen. In A Minecraft Movie, director Jared Hess and cinematographer Enrique Chediak ASC faced the creative challenge of translating the game’s blocky aesthetic and blend of natural and fantastical worlds into a cinematic experience, one that still made room for fan-favorite moments, like the unforgettable Chicken Jockey.

Working closely with Panavision Auckland for the camera and lens package, Chediak selected Panavised Alexa 35 cameras and Panaspeed prime lenses, a choice that proved especially effective given the movie’s extensive use of CGI. In this Q&A, he discusses the visual language that brought the Minecraft universe to life while honoring the spirit of the original game.

Panavision: How would you describe the look of the movie?

Enrique Chediak ASC: Minecraft is quite unique in terms of the world that we needed to create. The look was an interpretation of the game. It’s a high-key movie, with bright images needed for the comedy aspect of the story. We did a few tests to understand the color palette and the brightness of the grass and floor. There were some iconic aspects of the game that we needed to respect, and others we could modify. We wanted to keep the ‘real world’ more real, but still with some level of stylization. The way the camera was used was straightforward, and we often avoided diagonal angles. The Overworld is happy, warm and clean in the daylight scenes, and cooler and a little messy at night. The Nether is very warm due to the lava and the fire, and more chaotic than the other worlds. From the beginning, Jared wanted to use a mixture of cool and warm light in most instances, like in Steve’s stash and the mines.

Were there any specific visual references you looked at for inspiration?

Chediak: We looked at a few films for reference during the prep of Minecraft, including Shaun of the Dead for the quick zooms, Barbie for the use of color and backlight, Harry Potter for the woodland mansion, and Wonka for the night look, among others. These references served as a point of communication between the director, me and other crew members, but the interpretation was very free. Our main reference was the game and its translation to the film world.

What brought you to Panavision for this project?

Chediak: The majority of films I’ve worked on have been with Panavision, so I have a wonderful relationship with them. When starting a project, it’s always a pleasure to talk to David Dodson [SVP of Client Relations and Business Development] and Dan Sasaki [SVP of Optical Engineering and Lens Strategy] to discuss different lenses and gadgets. Lenses are one of my favorite ingredients in my work, and I love the variety of choices that Panavision offers. When I arrived in New Zealand, I got in contact with Paul Lake [Branch Manager at Panavision Auckland] so we could start discussing the necessary equipment for the movie.

What optical characteristics did you see in the Panaspeeds that made them the right match for this film? 

Chediak: I tested a few lenses for the project but ended up with the Panaspeeds because they felt like the right choice for the amount of CGI the movie has. They are solid — soft and warm, and they don’t flare too much. They isolate the subjects in a lovely way, and the bokeh is very cinematic. Jared and I felt that we needed to use a lot of backlight on the stages, and the lenses were great with highlights.

How does this project differ from others in your career?

Chediak: I think every movie in my career is different. Minecraft was a very different experience from previous movies because of the amount of CGI and the fact that we had to extend so many sets. In the big CGI movies I’ve done previously, we mainly worked with carefully prepared plates to insert the CGI characters; in this one, it was the opposite. We had our main human characters and the immediate sets, and the rest were extensions. I have never been surrounded by so much blue and green in my life!

What inspired you to become a cinematographer — and what keeps you inspired today?

Chediak: Growing up in Ecuador in the 1980s, filmmaking was an unthinkable profession. Backpacking through Ecuador and climbing mountains inspired me to take pictures. I was also an avid reader. A few years later, in Chile, I started watching European and independent movies, and somehow it all came together — the visuals, the story, everything I loved. I started making short films and art videos obsessively. Later, I went to NYU to pursue my master's in directing and cinematography. I realized that my passion is the set, and that’s why I decided to concentrate on cinematography. I love telling visual stories, solving problems fast and using my instinct. The movie set is the place where I am the happiest. I find peace in the mayhem of the filmmaking process.