The Kill Team, which won for Best Documentary Feature at the Tribeca Film Festival and earned the Golden Gate Award at the San Francisco Film Festival, tells the story of a group of U.S. soldiers stationed in southern Afghanistan who, motivated by fear and boredom, take to murdering Afghan civilians and then staging those killings to look like good shoots.
Paris-based animation studio Illumination Mac Guff used Shotgun software to keep on track for the 3D summer family film and one its most successful, Despicable Me 2.
Douglas Trumbull’s latest project UFOTOG, the world’s first high-frame rate (120 fps), stereoscopic 3D film, has completed production.
When an action movie script on a tight budget included such challenges as close-ups of mixed martial arts fighting, a high-speed car chase shot from a low-flying helicopter, and low-light location scenes, director of photography, David E. West, knew the solution was to capture it all using a Canon Cinema EOS C300 digital cinema camera, a Canon EOS 5D Mark II Digital SLR camera, and EF-Series lenses. Having used the EOS C300 camera on a previous assignment, West was enthusiastic about its portability and low-light advantages. He also owned an EOS 5D Mark II camera, and was a fan of Canon lenses both for photography and for shooting reality TV. West decided from the outset that the ambitious visuals needed for Blunt Force, a new film from director Daniel Zirilli, would make this an all-Canon project. Shot on location in Mississippi, the movie tells the story of an ex-soldier imprisoned and forced to be part of an Internet cage-fighting club.
Renowned artist Clifford Ross incorporated Maxon Cinema 4D software technology in the design process of The Austin Wall, a monumental and unprecedented stained glass work housed at the new United States Courthouse in Austin, Texas.
When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality.
Foxed, an award-winning, 3D animated short by Toronto-based director James Stewart will have its Canadian 3D premiere and theatrical run in Toronto at the TIFF Bell Lightbox, starting June 28.
West Coast-based production companies Accomplice Media and The Joneses have joined forces under the Accomplice name. Executive producers Jeff Snyder and Mel Gragido will co-manage the company, overseeing a roster of 16 directors that includes award-winning filmmakers Don Burgess, Jeff Gorman, Vincent Laforet, David Jellison, Rick Knief and Hans Petter Moland, as well as the dynamic young directing team Sherpas Cinema.
In early 2010, Anna Foerster was one of the first cinematographers to shoot a feature film using a prototype Arri Alexa camera and Codex Recorders. That film, Anonymous, blended court intrigue, scandalous romance and the timeless lust for power, all set in the visually rich period of Shakespeare’s England. Foerster won the German Film Award for best cinematographer for her work on Anonymous. Now Foerster has reteamed with Roland Emmerich on White House Down, a contemporary action thriller about an attack on the U.S. president and the cop who defends him. Foerster and Emmerich chose to work with the Alexa and Codex once again. “It’s a fully developed, fantastic way of working,” says Foerster.
When Florida-based director/cinematographer, John Deeb isn’t shooting spots for high-profile clients such as Hard Rock Hotels or Disney, he likes to expand the limits of his creativity with music videos like a recent one for indie rocker Matt Pond. To shoot Love to Get Used, a song off Pond’s new album, The Lives Inside the Lines in Your Hand, Deeb got to experiment with different techniques not always viable on commercial productions.