While trying to keep her boyfriend’s surprise birthday party on track, Katie’s day takes a drastic detour after picking her brother, Seth, and his daughter up. Realizing Seth has relapsed in his heroin addiction, Katie drives him around town trying to find a detox center that will admit him. 6 Balloons was written and directed by Marja-Lewis Ryan and shot by cinematographer Polly Morgan, BSC (Spinning Man, The Intervention) with VariCam 35 cameras. The Netflix feature film, which stars Abbi Jacobsen and Dave Franco, had its premiere at this year’s South by Southwest film festival in March and began streaming on Netflix in April.
Cinematographer Steve Yedlin, ASC will present his work on cinema image quality at this month’s Society of Motion Picture and Television Engineers’ Hollywood Section meeting May 16 at the Linwood Dunn Theater. The two-part demonstration, titled On Acquisition and Pipeline for High-Resolution Exhibition, premiered at Camerimage in 2016 and now is widely available online. The SMPTE Hollywood Section event will give attendees the opportunity to view Yedlin’s demonstration in a high-quality theatrical exhibition venue.
For the historical vignettes in the upcoming CNN six-hour, six-part miniseries Pope: The Most Powerful Man in History, cinematographer Dane Lawing wanted each era to have its own look and a distinctly cinematic feel. To achieve this, he relied exclusively on Cooke S4/i prime lenses.
The Queen of Sin, the third film shot by Serge Desrosiers, CSC (a.k.a. Sergio Di Rosa), for Incendo Productions and its cable network client Lifetime, is a departure from what most people consider the traditional Lifetime made-for-TV movie. “The Queen of Sin is unlike any film that I’ve done for Incendo and Lifetime,” explained Desrosiers, whose second Lifetime film, Sometimes the Good Kill – also shot with Cooke lenses – has been nominated for an ASC 2018 award.
The American Society of Cinematographers has named Eric Rodli as executive director, effective immediately. In his new role, Rodli will be responsible for driving initiatives that uphold the mission of the organization – to advance the art and science of cinematography – and creating a supportive community for its members.
The Society of Camera Operators has announced the honorees of the Lifetime Achievement Awards, Camera Operator of the Year for both the film and television categories. The recipients will be announced at the February 3 Awards hosted at the Loews Hollywood Hotel.
The American Society of Cinematographers has announced the nominees in all categories of the 32nd Annual ASC Awards for Outstanding Achievement. Winners will be revealed at the organization’s February 17 ceremony at the Ray Dolby Ballroom. This year’s emcee is Ben Mankiewicz, a longtime host on Turner Classic Movies.
Shanra J. Kehl’s The Morning After features eight intercut vignettes shot in eight locations in 11 days, telling the story of the moment when you wake up next to someone... the next morning. Kehl served as director/writer/producer and cinematographer on the film. She shot with shot with Cooke S4/I lenses.
Netflix and the Australian Broadcast Corporation have partnered to produce a new comedy series, The Letdown. Produced and written by Sarah Scheller and Alison Bell, the pilot and six half hour episodes follows Audrey, played by Bell, as she navigates the chaos of motherhood while still trying to balance a career-focused husband, a self-absorbed mother, and a care-free best friend. The series also stars Duncan Fellows, Sacha Horler, Noni Hazelhurst and Celeste Barber. Cinematographer Judd Overton shot the series with Panasonic VariCam LT cameras.
Instrument of War is a period piece based on the true story of Clair Cline, a US Army Air Forces pilot shot down over occupied Holland during World War II and held at the German Stalag Luft 1 POW camp, and The Prison Camp Violin he made from materials found in the camp and by trading Red Cross cigarettes for a bow. “We shot in Lithuania for the authenticity of the architecture, and built the POW camp around existing buildings to enhance the film’s production value,” said cinematographer Wes Johnson. With the authentic look of their sets, and a strong U.S. dollar, Instrument of War looks like it was shot for several times its actual production cost.