Panasonic has launched a free VariCam look up tables Library to help filmmakers create a variety of looks with VariCam and EVA1 cinema cameras. The VariCam LUT Library contains 35 unique 3D LUTs, created by Panasonic in conjunction with Local 600 D.I.T.s. The VariCam LUT Library contains display conversion LUTs, as well as artistic look LUTs. In camera, on set, or in post, users can preview or capture various looks using a high-contrast black-and-white LUT, a warm golden hour LUT, a colorful high fashion LUT, a faded vintage LUT, or many others.
The second series of National Geographic’s popular series Genius focuses on the extraordinary life of painter Pablo Picasso. Colorist Pankaj Bajpai at Encore in Hollywood was charged with creating the look that evoked the time and place as well as the art.
Post-production finishing for the first season of Vida, the new half-hour drama from Starz and executive producer Tanya Saracho, was recently completed at MTI Film. Senior colorist Steve Porter worked with series cinematographer Carmen Cabana in finalizing the look of the show, which has just been renewed for a second season and has drawn rave reviews for its revealing portrait of Latinx life in East Los Angeles.
“I think if you’re making a high school movie, you can’t not watch John Hughes movies for reference,” said cinematographer Hillary Spera (Duck Butter, Submission). “Even if it’s subliminal, they’re woven into the language.” Filmmaker John Hughes had a string of hit films in the 1980s that were a true depiction of high school life in middle class suburbia. Movies like 16 Candles, The Breakfast Club, and Pretty in Pink portrayed teen characters with depth and intelligence but were also comedic.
The American Society of Cinematographers has re-elected Kees van Oostrum as president, who will serve his third consecutive term at the organization.
Written during the McCarthy era and published in 1953, Ray Bradbury’s classic dystopian novel, Fahrenheit 451, is set in a society where books are outlawed and firemen are charged with burning them. The novel has had many adaptations, most famously in François Truffaut’s 1966 film, which starred Oskar Werner and Julie Christie. In 2018, Ramin Bahrani co-wrote and directed the film adaptation for HBO, starring Michael B. Jordan, who also served as executive producer. The stylized film was shot by cinematographer Kramer Morgenthau, ASC (Game of Thrones, Thor: The Dark World, Terminator Genisys).
Panasonic has announced the AU-EVA1 Share Your Vision Video Contest, open to video professionals throughout the United States and European Union countries. To participate, contestants should register at https://eva1contest.hscampaigns.com/ and submit videos shot with the Panasonic EVA1 cinema camera from 25 seconds to five minutes in length from June 1 through August 24, 2018.
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.