Jay Hunter is a celebrated director and cinematographer whose work runs the gamut from features and scripted series to documentaries and reality TV. He’s crafted unique aesthetics for television shows such as On the Lot and films including Joss Whedon’s Much Ado About Nothing. Hunter’s current project is the NBC comedy Superstore, about the employees of a big box retailer. For that series, he tries to make viewers feel like they’re part of the action through a visual style that looks handheld, but is not.
The long-awaited sequel to the 2003 holiday cult classic, Bad Santa (directed by Terry Zwigoff), Bad Santa 2 is directed by Mark Waters (Vampire Academy, Mean Girls). Theo Van de Sande, ASC (Blade, Cruel Intentions, Wayne’s World) shot the dark comedy with Panasonic VariCam 35 4K cinema cameras. Comedy or not, Waters and Van de Sande wanted the film to have a darker look. For developing the look of Bad Santa 2, Van de Sande did not use any visual references, including the original Bad Santa (shot by Jamie Anderson).
In the late winter of 2014, Leonardo DiCaprio called actor and documentarian Fisher Stevens with an idea: he wanted to collaborate on a documentary that would explore the causes and effects of climate change around the world, and the urgent need to transition away from using fossil fuels — and he wanted to get started right away. They chose Antonio Rossi to be their director of photography.
Ben Davis, BSC has become an old hand in the Marvel universe. Doctor Strange marks his third Marvel film as director of photography. He also shot the global hits Avengers: Age of Ultron and Guardians of the Galaxy. “Marvel very much is a universe with its own language, but the three films I've done have been vastly different.”
Cinematographer Tony Miller, BSC, has been nominated for a 2016 RTS Craft & Design Award for Photography – Drama & Comedy, for his work on the acclaimed BBC comedy series Fleabag. Miller shot the series using Cooke Optics anamorphic lenses.
The American Society of Cinematographers honored three student filmmakers tonight at their annual student awards presentation, held at the organization’s clubhouse. The competition is designed to highlight the work of emerging talent, and inspire the next generation of filmmakers. The winners are:
The American Society of Cinematographers has announced the honorees for the 31st annual ASC Awards for Outstanding Achievement. Edward Lachman, ASC; Ron Garcia, ASC; Philippe Rousselot, ASC, AFC; and Nancy Schreiber, ASC will be recognized for their contributions to the art of cinematography at the organization’s awards gala on February 4, 2017, at the Ray Dolby Ballroom at Hollywood & Highland. Lachman will receive the Lifetime Achievement Award. Garcia will be bestowed with the Career Achievement in Television Award. Rousselot earns the International Award, and Schreiber will take home the Presidents Award.
DP Colin Noel says there are certain locations that a cinematographer dreams of shooting and, for him a Ferris wheel at night is one of them. When the music video concept of Hartford, Connecticut-based Bronze Radio Return’s Only Temporary was presented to him, it was an opportunity he couldn’t pass up.
Cinematographer Gareth Paul Cox recently shot up-and-coming director Aundré Johnson’s tentatively titled project, The Driver, an ambitious 15-minute short that takes place mostly inside a car. It tells the story of a limo car service driver, who ventures off the beaten path to start his own car service using borrowed money from individuals with possible mob ties. For Cox, there were several big challenges for the low budget short, including driving and shooting on L.A. streets without a process trailer, or any serious rigging.
Continuing their mission to advance the art of cinematography by inspiring and educating the next generation of filmmakers, the American Society of Cinematographers has announced the nominees for the 2016 ASC Haskell Wexler Student Documentary Award and the Vilmos Zsigmond Student Heritage Award for Undergraduates and Graduates.