(Searcher) Editing and Cinematography in Gravity

Here are a few interviews and articles I found on the film Gravity that will give you some information on editing, cinematography and set design.


This Time article offers an insightful look into the cinematography of “Gravity,” providing an in-depth analysis of the film’s visual elements. It’s a valuable resource for understanding the film’s unique visual storytelling. It mentions the scene where Ryan was spinning out of control. It was filmed not with the actor spinning but they designed all this equipment that allows them to spin the environment around her and give the impression that she is spinning. You can see that in the reflections in her eyes and the visor as the shot is going from an objective shot, where you see her spinning, and then suddenly it becomes this subjective shot, and you start to see what she’s looking at while spinning out of control. I thought this was very unusual and interesting. During the editing process, they had to slow down the spinning because it was way too fast.

The article talks about some other interesting points about the film, and how it was made – for example all the scenes on earth was shot on 65-millimeter film. I think it’s a great article that gives you extra information on the film if you are interested to see the behind the scene work.


This is a great article where the director talks about set design in the film. He talked about the use of real sets and proxy sets, as well as the use of CGI.

The Set Decorators Society of America’s interview with director Alfonso Cuarón sheds light on the meticulous set design of “Gravity.” Cuarón explains, “We tried to design everything in the spacecraft to be as functional as possible, to be very much like a submarine. Everything had to serve a purpose.” This functional design approach is a departure from the more stylized spacecraft interiors seen in many sci-fi films. He talked about the use of proxy sets and photo-enhancement techniques when editing.

“Gravity” stands out by blending practical sets with cutting-edge technology, as noted in the interview. The LED lights used to simulate the Earth’s reflection in the helmets exemplify this approach. This attention to detail enhances the film’s authenticity and sets it apart from films that rely heavily on CGI for their environments.


If you are interested in the editing of the film, this is a great article where the editor discusses his decision making process and the challenges faced.

The Variety article on editing in “Gravity” explains the unique challenges faced during post-production. Editor Mark Sanger described the editing process as “cutting animation.” This is a distinct departure from traditional editing, where editors typically work with pre-existing footage. The director and editor has already blocked out and created ideas on how they want each scene to look like prior to filming. Plus the fact that the film relies heavily on CGI, the editing process was very different from other films.

“Gravity” stands out by seamlessly blending live-action shots with visual effects. The article notes that the film’s long takes required extensive digital manipulation to achieve the illusion of continuous action. This approach differs from other films where editing is often used to maintain continuity through conventional cuts. The editor of “Gravity” discussed how he uses editing to create a sense of uninterrupted tension.

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