Cinematographer Bauman Helps Bring Political Thriller 'One Battle After Another' to Life

Camera team overcomes technical challenges of shooting Paul Thomas Anderson's film in VistaVision format

Published on Feb. 6, 2026

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This in-depth look at the making of One Battle After Another, a political thriller directed by Paul Thomas Anderson and shot by cinematographer Michael Bauman, explores the technical challenges the team faced in utilizing the VistaVision format. The article details the extensive camera modifications and lens development required, as well as the creative lighting approaches used to capture the film's gritty, 1970s-inspired aesthetic across a variety of locations and action sequences.

Why it matters

One Battle After Another marks a renaissance for the VistaVision format, which has been embraced by filmmakers like Anderson who are drawn to its unique visual qualities. The article highlights how the production team overcame the technical hurdles of working with vintage VistaVision cameras to deliver an eye-popping cinematic experience for audiences.

The details

The film's camera team, led by Bauman, worked closely with Panavision's engineering team to upgrade and calibrate three vintage Beaumont VistaVision cameras, including one borrowed from actor-cinematographer Giovanni Ribisi. This involved designing custom parts and accessories to improve the cameras' reliability and performance. The crew also experimented extensively with a wide range of vintage and prototype lenses to achieve the desired gritty, textured look inspired by films like The French Connection. Lighting the film's diverse locations, from rainy interiors to high-speed car chases, required constant adaptation and improvisation to complement the VistaVision format.

  • The film was shot over the course of more than a year, with extensive camera testing and preparation taking place before principal photography.
  • One Battle After Another is set to be exhibited in select urban markets in both 70mm Imax and the VistaVision format, utilizing updated 8-perf horizontal film projectors.

The players

Michael Bauman

The cinematographer for One Battle After Another, with a long-standing collaboration with director Paul Thomas Anderson.

Paul Thomas Anderson

The director of One Battle After Another, known for his visually striking films like There Will Be Blood and Phantom Thread.

Dan Sasaki

Panavision's senior vice president of optical engineering and lens strategy, who supervised the calibration and upgrading of the VistaVision cameras used on the film.

Guy McVicker

Panavision's director of technical marketing, who assisted in the design and fabrication of custom parts and accessories to support the VistaVision cameras.

Giovanni Ribisi

An actor-turned-cinematographer who provided one of the vintage Beaumont VistaVision cameras used on the production.

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What they’re saying

“Our engineering team assisted with the design and fabrication of parts to make the cameras easier to service and maintain.”

— Guy McVicker, Panavision's director of technical marketing

“Many of the lenses that were ultimately used had to be modified to clear the VistaVision camera mirror and ground-glass assembly.”

— Dan Sasaki, Panavision's senior vice president of optical engineering and lens strategy

“The magic-hour chase sequence in the rolling hills of Borrego Springs required some quick reloads and tactical positioning of support to accommodate a run that was miles long.”

— Sergius Nafa, First assistant camera

“We shot almost a million-and-a-half feet of film. We shot with all four of Kodak's Vision3 stocks, but predominantly with 5219.”

— Michael Bauman, Cinematographer

“It was a lot of fun, but it was hard — just a lot of extreme conditions. But with Paul, you're always pushing yourself. It's just a huge level of kinetic energy.”

— Michael Bauman, Cinematographer

What’s next

The film is set to be exhibited in select urban markets in both 70mm Imax and the VistaVision format, utilizing updated 8-perf horizontal film projectors.

The takeaway

One Battle After Another's embrace of the VistaVision format, along with the production team's innovative technical solutions and creative approaches, demonstrate the continued viability and artistic potential of this unique cinematic medium in the hands of visionary filmmakers like Paul Thomas Anderson.