The world was watching when, on April 15, 2019, the Notre-Dame cathedral in Paris caught fire. A notable UNESCO World Heritage site, Notre-Dame is considered to be one of the finest examples of Gothic architecture anywhere. Netflix's recent drama series Notre-Dame seeks to retell this dramatic event, based on the accounts of French firefighters. It portrays the impact of the Notre-Dame fire on different people in Paris. ARRI spoke with cinematographer Jean-Max Bernard about his choices and experiences in bringing this emotional event back to life.
The new Netflix event series tackles the terrible fire of Notre-Dame de Paris. How did you approach this complex project?
I have been working with director Herv Hadmar for fifteen years. I know his way of working very well. He has the particularity of only directing series that he has written, this time with co-writer Olivier Bocquet. We worked together very early on, right from the first versions of the script. This gave us time to think, to advance step by step towards the image choices. On this series, Herv was very interested in the colors of stained glass. He wanted us to find these tones in the settings and in the light. He also gave me several references to films and series with very strong colors: Only God Forgives and Too Old to Die Young by Nicolas Winding Refn. We also looked at the series The Mosquito Coast which interested us a lot. It was an ongoing dialogue with the director. The goal was to bring an idea of color and tone close to stained glass to the series, without being too ostentatious.
Director Herv Hadmar (center, white shirt), cinematographer Jean-Max Bernard (center, left of blue mask) and some members of the film crew
Why did you choose ARRI Signature Prime lenses for Notre-Dame ?
The choice of lenses was very important to me on such a complex series, where I was dealing with fire and juggling different layers of smoke. I knew I would have to filter as little as possible to avoid double images. When we did comparative tests on faces with smoke, the Signature Primes stood out immediately. They were exactly the right lenses for the job. They had the roundness and finesse that would allow us to work virtually filter-free all the time. With these lenses, I used a lot of wide focal lengths at apertures of 2 or 2.8, with the idea of losing depth of field. This gives a real density to the image. The bokehs are also very nice, elegant, round, and fine. In addition, I find that Signature Primes give a very nice velvety look to the faces without being too soft or mushy. It's an excellent combination having both the sharpness and the velvetiness. I had a great time on the shoot with these lenses. The Signatures Primes are a big achievement from ARRI.
Using ARRI Signature Prime lenses was very important to deal with fire and different layers of smoke in Notre-Dame
When we did comparative tests on faces with smoke, the Signature Primes were an immediate choice, states DP Bernard
And what about the camera, how did the ALEXA Mini LF perform?
We shot with two ALEXA Mini LFs: one handheld and the other one on Steadicam or crane. I've always worked with ALEXA cameras, and I didn't want to experiment with anything else on such an important project. For this series, the ALEXA Mini LF was the safe choice, something very pragmatic. It is a camera that I know well. Its sensor offers a very wide latitude. It goes very deep into the blacks without going into a spin in the highlights. This was even more important as I was working with an open aperture. The story takes place almost entirely at night since the fire started in the early evening. As a result, the shoot was always a juggling act between the highlights of the flames, the shadows in the sets, and the firemen dressed in black. I needed a camera that could handle great contrasts, hence the choice of the ALEXA Mini LF. I also knew that in the sequences shot in the cathedral of Bourges for example, I was going to have to work in low light by relying on the existing atmosphere. The sensor gave me the latitude to shoot with very few sources. Not to mention the compactness of the Mini LF, which was essential for me to be able to work handheld in the very narrow stairs of real cathedrals.
Scene on the stairs of the Bourges cathedral
A safe choice for DP Bernard: The ALEXA Mini LF on Steadicam
At what exposure did you use the camera?
In general, I play very little on exposure. This time I was always at 800 ASA, maybe once or twice at 1600 ASA, but thats it. On Notre-Dame, the big job was to play on tones and colors. With my colorist, Gilles Granier, we worked very early on to develop a LUT that would work for the entire film. In this series, the rendering is not very naturalistic, especially of the skins. It wouldn't have made sense with the firemen covered in soot and exposed to the flames. So I had a lot of freedom to develop a LUT that would significantly change the color rendering and meet the director's desired direction. With the colorist, we studied the different atmospheres of the series in detail, prepared several LUTs, to finally arrive at the one that we were fully satisfied with. After that, we just had to install it on the ALEXA Mini LF.
Scene with firewomen in front of the cathedral Notre-Dame de Paris
Many scenes in Notre-Dame show firemen covered in soot and exposed to the flames
How did you work with color on set?
On each film or series, I always do some preparatory work beforehand, where I test different gelatins according to each sequence. I go through a Lee sampler by tints that I spread on windows and, progressively, I select the colorimetric ambiances that interest me, set by set. Then, I transfer them to the ARRI SkyPanels by selecting colors which are close to my gelatins. Afterwards, I make a lot of adjustments
Most recent headlines
05/01/2027
Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...
04/08/2026
Dalet, a leading technology and service provider for media-rich organizations, t...
04/07/2026
April 7 2026, 19:00 (PDT) Detective Conan: Fallen Angel of the Highway Opens in...
04/06/2026
Sony Electronics is introducing the SRG-AS10, a 4K 60p-compatible PTZ auto-frami...
04/06/2026
This recent grad from Spring, TX, led creative-video output for the Aggies' men's basketball team last season and has been producing video and creating ...
04/06/2026
For the first time at a women's golf major, every player in the field will r...
04/06/2026
Three Panasonic PT-RQ45 40,000-lumen 3-Chip DLP projectors made their first live...
04/06/2026
Bitmovin and Akamai have announced a collaboration with NRJ Group, a French mult...
04/06/2026
Telestream will exhibit at InfoComm 2026 (Booth N7952), demonstrating media work...
04/06/2026
Sony has announced the development of RIALTO 65, a 65mm format image sensor block for the VENICE 2 digital cinema camera, targeting release in the first half of...
04/06/2026
KOKUSAI DENKI Electric America will exhibit at InfoComm 2026 (Booth N8025, June ...
04/06/2026
Bell Media's TSN and RDS are the exclusive Canadian broadcasters of FIFA Wor...
04/06/2026
The Challenge: Receiving Heavy Media Files From Road Games Quickly and ReliablyT...
04/06/2026
MASV, a managed file transfer platform used in broadcast and live sports product...
04/06/2026
NESN has announced the appointment of Fahad Haider as Vice President of Operations and Engineering. Haider returns to NESN, where he previously served as Vice P...
04/06/2026
David J. Halberstam, who spent almost 50 years in sports as a broadcaster and an executive, died June 2 after a years-long battle with brain cancer.
Over his l...
04/06/2026
Although collegiate production programs are tasked with delivering high-quality ...
04/06/2026
California studio, two production trucks, global distribution system are combine...
04/06/2026
New global program empowers and supports storytellers through scriptwriting course and access to industry experts
TikTok and Sundance Institute today announce...
04/06/2026
Steinberg DAWs now boast in-depth Tonalic integration
Celemony's innovative virtual session musician plug-in has just received an update that brings ARA...
04/06/2026
Get Hands-On With Over 20 Mic Brands
GearExpo UK is fast approaching, and if you've been looking for a chance to check out some new mics, then you'r...
04/06/2026
Combos feature new Amplifier Intelligence engine
Positive Grid's latest release sees the company introduce two new combo amplifiers that promise to offe...
04/06/2026
Is Your Job Making You Work this June?
4 June, 2026
Media releases
SBS Launches the World Cup Watchers' Rights Association to Stand Up For Australians&...
04/06/2026
Statement regarding unauthorised use of SBS logos on third party social content
4 June, 2026
Media releases
SBS has become aware of social media posts in c...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Bitmovin, a leading provider of video streaming infrastructure, and Akamai, the cybersecurity and cloud computing company that powers and protects business onli...
04/06/2026
American Underground (AU), the Startup Hub of the South and a community of mor...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/06/2026
NVIDIA and Microsoft Reinvent Windows PCs for the Age of Personal AI
Brie Clayton June 3, 2026
0 Comments
RTX Spark - a 1-Petaflop Superchip, the Full...
04/06/2026
Inside the Peaky Blinders: The Immortal Man Grade
Brie Clayton June 3, 2026
0 Comments
Simone Grattarola discusses shaping the look in DaVinci Resolve...
04/06/2026
Cine Gear Expo Announces 2026 Awards of Excellence Recipients
Brie Clayton June 3, 2026
0 Comments
Ed Lachman ASC, Caleb Deschanel ASC, and M. David M...
04/06/2026
St. Vincents Live with Orchestra Tour to Feature Berklee Alum Ruby Plume Berklee alumni St. Vincent and Ruby Plume will appear on the same bill across seven d...
04/06/2026
Back to All News
All the Truth in My Lies Coming to Netflix on August 28
Entertainment
04 June 2026
GlobalSpain
Link copied to clipboard
Download the imag...
04/06/2026
Back to All News
Larry Tanz, VP of Content, EMEA, Delivers a Keynote Speech at ...
04/06/2026
Back to All News
Turn Your Living Room into a Stadium With the New FIFA World ...
04/06/2026
Keeping conversations real on LinkedIn Published on Jun 4, 2026 Categories: Product News
LinkedIn Corporate Communications
Share
LinkedIn
Facebook ...
04/06/2026
BackStory follows four Irish young people as they travel back to their parents' homelands
Modern Irish identity is enriched by cultures and influences from...
04/06/2026
June's forecast with GeForce NOW: 100% chance of gaming.
GeForce NOW is lining up new adventures for the month, from big-name blockbusters to quirky indies...
03/06/2026
SES and Viva, Mexico's ultra low-cost airline, have launched multi-orbit satellite inflight connectivity on Viva's Airbus aircraft. A total of 60 A320s ...
03/06/2026
The College Football Playoff, ESPN, and TNT Sports have announced kick times and...
03/06/2026
RED Digital Cinema will exhibit at Cine Gear Expo 2026 (Booth 33, June 5-6, Universal Studios Lot), hosting three panels and hands-on product demonstrations.
P...
03/06/2026
Roku has announced the Soccer Zone, a dedicated hub for FIFA World Cup 2026 content available across the United States, Canada, Mexico, Brazil, Colombia, Argent...
The world was watching when, on April 15, 2019, the Notre-Dame cathedral in Paris caught fire. A notable UNESCO World Heritage site, Notre-Dame is considered to be one of the finest examples of Gothic architecture anywhere. Netflix's recent drama series Notre-Dame seeks to retell this dramatic event, based on the accounts of French firefighters. It portrays the impact of the Notre-Dame fire on different people in Paris. ARRI spoke with cinematographer Jean-Max Bernard about his choices and experiences in bringing this emotional event back to life.
