Cinematography

Gearing Up for The Letdown

Mon, 11/13/2017 - 11:28 -- Nick Dager

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.

Shooting Instrument of War

Wed, 11/08/2017 - 11:20 -- Nick Dager

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.

ASC Announces 2018 Honorees

Fri, 10/06/2017 - 11:10 -- Nick Dager

In recognition of their special contributions to the art of cinematography, the American Society of Cinematographers has named four honorees to be feted at the 32nd ASC Awards for Outstanding Achievement. Russell Carpenter will receive the Lifetime Achievement Award; Russell Boyd will earn the International Award; Alan Caso will get the Career Achievement in Television Award; and Stephen Lighthill will take home the Presidents Award. The presentations will be made at the annual ASC awards gala on February 17, 2018, at the Ray Dolby Ballroom in Hollywood.

Creating a Naturalistic Look

Thu, 09/07/2017 - 10:55 -- Nick Dager

Writer/director Paul Shoulberg’s vision for his feature The Good Catholic was to have it not look like a typical romantic comedy, but to take on a more naturalistic look and feel. To help achieve that vision, cinematographer Justin Montgomery, who worked with Shoulberg on a previous short project, selected Cooke’s S4/i prime lenses to take advantage of their warmth and bokeh, giving images a creamy quality with sharpness.

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