Cinematographer Eric Koretz and director Elliot Rausch recently shot a short for Lincoln Motor Cars titled Get Back and became one of the four teams to capture the first content officially sponsored by Vimeo.
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.
It’s taken several years for cinematographer Lan Bui to bring Redemption: The Darkness Descending to completion. But it’s been worth the effort. The multi-platform project began as a 24 episode web series that allows the audience to enter an underground world and become part of the story through a groundbreaking interactive app, and has since grown into a feature film.
Schneider Optics has introduced an iPro Lens for the iPhone 5. In addition, the system now offers a larger family of lenses, including a new Macro and Super Wide.
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.
When Saturday Night Live film unit cinematographer Alex Buono decided to share his knowledge of the industry – in a big way – with a 31-city educational tour he calls The Art of Visual Storytelling, the first pieces of equipment he chose for his travel package were OConnor heads.
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.
For the first in a series of quirky national spots for the Cartoon Network/Adult Swim, cinematographer Gavin Fisher decided to use the Blackmagic camera, Canon lenses, and his trusty Sachtler Ace M for support.
When former photojournalist, director of photography Erik Naso was asked by his TV station to create new promos for the station he wanted each spot to have a cinematic quality that differed from the station’s regularly aired ENG-style videos.
Cinematographer Trevor Forrest recently shot the genre-bending Grabbers, which opens in the United States July 19. Grabbers is a throwback to classic sci-fi monster movies with a comedic twist.