Sean Bobbitt on 28 Years Later: The Bone Temple's madness

The Cinematography Podcast Episode 345: Sean Bobbitt

In the landscape of post-apocalyptic cinema, few franchises carry as much visual baggage as the 28 Days Later franchise. Known for pioneering the “fast zombie” and the gritty, digital lo-fi aesthetic of the early 2000s, the series has always found a novel visual approach for every entry. For the latest installment, 28 Years Later: The Bone Temple, cinematographer Sean Bobbitt, BSC, faced a unique challenge: honoring the jagged zombie movement of the franchise while carving out a look that feels entirely new.

While 28 Years Later was shot on iPhones and set its own tone, Bobbitt was determined to make The Bone Temple stand apart. The goal was to capture a duality within the setting. Dr. Kelson (Ralph Fiennes) has created a special space within The Bone Temple, where the chaos parts around him. Bobbitt explains, “We just wanted to highlight the fact that this was a place of peace and tranquility, and acceptance, but also bonkers madness by using much more traditional cinematic techniques and a much slower camera.”

However, the film doesn’t sacrifice the kinetic energy the series is known for. To capture the fights between the infected and a group known as the “Jimmies,” Bobbitt used the ARRI Trinity camera system. By using a gyro-stabilized remote head mounted on a Steadicam rig, they created a fluid, immersive way for the camera to navigate the chaos with 360-degree movement.

The trademark jagged movement and speed of the infected is created by using a narrower shutter angle. A typical shutter angle is 180 degrees for natural motion blur, while the 28 franchise uses a narrower 90-degree, or even 45-degree shutter angle. Bobbitt expanded the signature shutter settings to apply to the Jimmies, a visual way to represent the thin, blurring line between the humans and the zombies. “There are all sorts of statements being made about humankind,” in The Bone Temple, says Bobbitt. “There’s a lot of humanity and humor in the script which drew me to it.”

Director Nia DaCosta and Bobbitt have a history that dates back several years. They first met on a Steve McQueen film set where DaCosta was a production assistant whose job was driving Bobbitt to and from work. Bobbitt enjoyed her first feature, Little Woods, and went on to DP both The Marvels and Hedda with her. “She’s a great writer, a great director and the epitome of collaboration,” he says.

Their process involves a meticulous long prep, with extensive shot-listing and storyboarding. Bobbitt prefers the intimacy of a single-camera setup, which he usually operates himself, even on large films. On the Yorkshire set, he pre-lit the entire space, enabling the actors to have the freedom to move without being tethered to specific marks. “The lighting informs actors,” Bobbitt explains. “I try to light it as it should be, based upon my understanding of the emotion of the scene and discussions with the director.” Rehearsals are key for Bobbitt to make lighting adjustments for close-ups, while the actors feel comfortable and immersed in the world of the story.

Interestingly, The Bone Temple is Bobbitt’s first foray into the horror genre. As a former documentary and news cameraman, he says, “Horror to me is a real thing. It is actual dead bodies, and the horror of what humanity can do to each other. That is embedded in my soul forever, what I’ve witnessed.”

Bobbitt found a deep connection to the script’s humanity and humor. The appeal of the 28 franchise for him is that it isn’t just about monsters; it’s a human story about the horrors people inflict on one another. By bringing a documentary-trained eye to a fictional apocalypse, Bobbitt has crafted a film that respects the technical demands of the genre while never losing sight of the human pulse at its center.

See 28 Years Later: The Bone Temple streaming on digital soon.

Hear our previous interview with Sean Bobbitt on Judas and the Black Messiah.

CAMERAS: ARRI Alexa 35, SIGMA fp for body mounted shots

LENSES: Xelmus Apollo 2x anamorphic

Close focus: You Tuber Markiplier‘s self-financed film, Iron Lung, has made $21 million globally.

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Illya’s short end: Silicon Valley Video Summit in San Jose and Production Summit in Los Angeles left Illya feeling more optimistic about the use of AI in the future.

Help raise money for The Ultimate Breakup, a zombie short film Ben will be directing in March! Contribute to the Kickstarter campaign!