Director James Gunn is using Red’s 8K Weapon camera on Marvel’s latest cosmic adventures in Guardians of The Galaxy Vol. 2. Behind-the-scenes, Codex workflow systems, operated by Santa Monica, London and Atlanta based production services company Shed, are enabling the smooth and speedy transition of a river of 8K data from on-set into post production. The cinematographer on Guardians of the Galaxy Vol. 2 is Henry Braham BSC, who previously used Red Epic cameras on The Legend of Tarzan. He is one of the first DPs to deploy the new Red Weapon camera, fitted with the 8K Red Dragon sensor, on a long-form show, describing it as “the little big camera. Perfectly counterintuitive. And perfect for this production.”
When director of photography Julián Apezteguia, ADF (La Asociación de Autores de Fotografía Cinematográfica Argentina — Argentinian Society of Cinematographers) got the chance to work with director Pablo Trapero for the second time, on the director's latest film El Clan — a dark story set in the 1980's about a family of kidnappers and murderers — they used a full range of Cooke Anamorphic/i lenses to give the film a “strong optical personality.”
I recently worked as a camera operator on a VR feature called The Spring. The first question of many questions that I had for Greg Passmore, owner of Passmore Labs, Austin, Texas was, “When you are shooting a 3D 360 degree VR movie in a cave where at times you are perilously close to the top of the caves due to the water level, where do you position the crew?” His reply threw me off guard. He said, “Anywhere I want.” It was then that he told me he was shooting with one Red Epic camera. The question then was, how?
Cinematographer Adam Stone and director Jeff Nichols have been close collaborators since film school and share the same sensibilities, particularly with their preference for the anamorphic format. “Not knowing any better, we shot our first low-budget indie, Shotgun Stories (2007), in widescreen,” Stone said. “That film did better than expected, and we attributed some of its success to the format—widescreen added a weight and elegant stateliness to the story.”
The 2016 NAB Show's The Future of Cinema Conference: The Immortal Movie, produced in partnership with SMPTE, will explore how content creators and storytellers combine artistry with motion-imaging technology to thrive today — and into the future. Acclaimed film director Ang Lee will give the keynote address, Pushing the Limits of Cinema, and discuss his vision for cinema and the creative opportunities for the future of filmmaking.
Cooke Optics has unveiled a specially manufactured set of anamorphic lenses called Anamorphic/i SF. The new lens range, which is complementary to the acclaimed Anamorphic/i series, offers a coating that gives cinematographers even more options for anamorphic character.
Award-winning cinematographer Nancy Schreiber, ASC recently shot a two-minute public service announcement for YouTube honoring International Women’s Day. The spot profiles seven YouTube creators from around the world who serve as Change Ambassadors in support of the United Nations Sustainable Development Goals Action Campaign, using their voices to stand up for gender equality.
Cinematographer Shane Hurlbut, ASC used a series of 10 Cooke S4/i focal lengths to shoot Gabriele Muccino's latest feature Fathers and Daughters, starring Russell Crowe and Amanda Seyfried. Hurlbut's lens package for the Canon EOS D500 and MōVI digital 3-axis gyro-stabilized handheld camera gimbal included the Cooke S4/i 14mm, 18mm, 21mm, 27mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm lenses. Fathers and Daughters, a Voltage Films and Busted Shark production of a Voltage Pictures Film, marks the ninth feature film Hurlbut has shot with Cooke lenses.
Emmanuel Lubezki, ASC, AMC; Vanja Cernjul, ASC, HFS; Pierre Gill, CSC; Adam Arkapaw, ACS; and Mátyás Erdély, HSC earned top honors in the four competitive categories at the 30th Annual American Society of Cinematographers Awards for Outstanding Achievement.
The upcoming dramatic series Containment, slated for a mid-season premiere on the CW Television Network, follows an epidemic that breaks out in Atlanta, leaving the large city quarantined and those stuck on the inside fighting for their lives. The series was shot by co-directors of photography William Wages ASC and John Smith with four VariCam 35 4K camera/recorders.