Cameras

Ben Davis Returns to the Marvel Universe

Fri, 11/04/2016 - 13:48 -- Nick Dager

Ben Davis, BSC has become an old hand in the Marvel universe. Doctor Strange marks his third Marvel film as director of photography. He also shot the global hits Avengers: Age of Ultron and Guardians of the Galaxy. “Marvel very much is a universe with its own language, but the three films I've done have been vastly different.”

Panavision to Showcase Millennium DXL Camera, T Series Lenses at Camerimage

Tue, 11/01/2016 - 12:49 -- Nick Dager

Panavision will showcase many of its newest offerings, including the Millennium DXL 8K Camera and T Series anamorphic lenses at the 2016 edition of the Camerimage International Film Festival, which runs November 12-19 in Bydgoszcz, Poland. Panavision is also presenting two workshops, and exhibiting alongside subsidiaries Light Iron, Lee Filters and Panalux.

Shooting in Tight Spaces

Thu, 09/22/2016 - 13:49 -- Nick Dager

Cinematographer Gareth Paul Cox recently shot up-and-coming director Aundré Johnson’s tentatively titled project, The Driver, an ambitious 15-minute short that takes place mostly inside a car. It tells the story of a limo car service driver, who ventures off the beaten path to start his own car service using borrowed money from individuals with possible mob ties. For Cox, there were several big challenges for the low budget short, including driving and shooting on L.A. streets without a process trailer, or any serious rigging.

Shooting B&W for a Timeless Feeling

Wed, 09/21/2016 - 12:51 -- Nick Dager

As soon as DP/director Alex Lehmann got the go-ahead to shoot Blue Jay, his first feature film, he immediately knew he wanted to shoot it in black and white, and he knew what camera he was going to use. He’d tested the new Canon ME20F-SH multi-purpose camera for a horror film he was set to shoot, but which never got made. He felt the camera was ideal for Blue Jay because it satisfied several concerns: it works in extremely low light, was affordable and is simple to operate. Shooting in black and white was a creative choice. “We were going for a timeless feeling,” Lehmann said.

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