Cinematography

Cinema Vérité Anne with an E

Tue, 06/27/2017 - 12:21 -- Nick Dager

Anne with an E, a Netflix series, is a filmed adaptation of the classic coming-of-age 1908 novel, Anne of Green Gables, by Canadian author Lucy Maud Montgomery. The series was shot by cinematographer Bobby Shore, CSC with Panasonic VariCam 35 cinema cameras. As a teenager growing up in Canada, Shore was a huge fan of director Darren Aronofsky (Black Swan, Requiem for a Dream) and his cinematographer, Matthew Libatique, ASC. While studying film at Concordia University in Montreal, he worked as an extra on the set of Abandon (2002), a feature film shot by Libatique. “When I would read about movies he [Libatique] was working on, it always seemed like his work came from an emotionally driven place,” reveals Shore. “It was easy for me to latch on to his ideas.”

Creating a Period Look

Tue, 06/20/2017 - 12:08 -- Nick Dager

A young reporter and his niece discover a beautiful and enchanting creature they believe to be a real mermaid, in the 1930s period tale The Little Mermaid, a live-action film inspired by the classic Hans Christian Andersen fairy tale and co-directed by Chris Bouchard and Blake Harris. Book-ended in the present day, The Little Mermaid gave cinematographer Neil Oseman the opportunity to use Cooke S4/i lenses to their fullest, capturing the look he loves from the fantasy/adventure films of the 1980s and1990s for The Little Mermaid’s 1930s look.

Avoiding Torn Frames in Ghost

Mon, 06/12/2017 - 12:38 -- Nick Dager

Typically, torn frames appear when a flash or strobe is not properly timed with a camera’s shutter and frame rate. They appear as a flash in the bottom half of one frame followed by a flash in the top half of the next frame. An innovative light source helped Ghost in the Shell cinematographer Jess Hall, BSC avoid the problem and bring a new level of visual sophistication to director Rupert Sanders’ epic feature.

Why Color Workflows Matter

Fri, 06/09/2017 - 11:05 -- Sarah Priestnall

Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif

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Kees van Oostrum to Serve Second Term as ASC President

Wed, 06/07/2017 - 11:14 -- Nick Dager

The American Society of Cinematographers has re-appointed Kees van Oostrum to a second term as president of the organization, based on votes by the board of governors. The ASC board also elected its officers for the 2017-2018 term, including: Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.

Through a Different Prism

Wed, 05/31/2017 - 15:32 -- Nick Dager

Director of photography Bobby Bukowski (When We Rise, Weeds, The Messenger, Arlington Road) has completed production of the upcoming Netflix series Gypsy, starring Naomi Watts and Billy Crudup. Bukowski shot the 10-episode dramatic series with Panasonic VariCam 35 4K camera recorders. “The greatest gift of the VariCam is the impetus to drop old habits, reinvent techniques and redefine who you are as an artist,” said Bukowski. “It’s wonderful and exciting to look at your craft through a different prism.

AFI to Honor Cinematographer Frederick Elmes

Tue, 04/25/2017 - 12:51 -- Nick Dager

The American Film Institute announced today that celebrated cinematographer Frederick Elmes (AFI Class of 1972) will receive the 2017 Franklin J. Schaffner Alumni Medal. This honor recognizes the extraordinary creative talents of an AFI alumnus or alumna who embodies the qualities of filmmaker Franklin J. Schaffner: talent, taste, dedication and commitment to quality storytelling in film and television.

Comedy with a Cinematic Look

Fri, 03/10/2017 - 12:33 -- Nick Dager

Two Netflix shows – Master of None and Love – have three things in common: both are comedies, both have a cinematic look and cinematographer Mark Schwartzbard shot both. Created by comedian Aziz Ansari and Alan Yang, Master of None tells the story of Dev, a 30-year-old actor who attempts to balance his career and love life in New York City. Love, created by Judd Apatow (Trainwreck, This Is 40), Paul Rust, and Lesley Arfin, explores an intense relationship between two Angelenos, Mickey (Gillian Jacobs) and Gus (Paul Rust).

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