Red Digital Cinema’s new Komodo 6K camera system is now available to order. The highly anticipated Komodo 6K comes to market after extensive engineering to incorporate production-tested innovations, including a breakthrough global shutter sensor (27.03mm x 14.26mm) that maintains Red’s standard of image quality and dynamic range. The camera is packaged in a small four-cubic-inch (101.6 mm) form factor and weighs only 2.1 pounds (0.95 kgs).
The comic book Dystopia tells the story of Jessica Hyde, a young girl on the run from the evil Mr. Rabbit, who holds Jessica’s scientist father captive and forces him to create unthinkable biological horrors. Written and illustrated by an anonymous artist, Dystopia has earned legions of fans, some of whom have found far deeper meaning in its pages and believe clues to real-world viruses and pandemics are layered into its artwork. One such group of obsessives, who have only known each other through their online interactions, come together and finally meet in person for Fringe Con, where an unwitting couple has plans to auction the recently discovered original artwork for Utopia, Dystopia’s unpublished and never-before-seen sequel.
Imax Corporation has unveiled its Filmed In Imax program, a new partnership with the world's leading camera manufacturers to meet filmmaker demand for the Imax Experience. Through the program, Imax will certify high-end, best-in-class digital cinema cameras with leading brands including Arri, Panavision, Red Digital Cinema and Sony to work in the Imax format when paired with its proprietary post-production process. Top Gun: Maverick shot with Sony's Venice, and Dune, shot with the Arri Alexa LF, will be among the first releases certified as Filmed in Imax.
In the early aughts, in a small Iowa town, Alice — a student at the local Catholic high school — enjoys watching Titanic and testing her knowledge of movie titles with word scrambles played in online chat rooms. When one of her internet encounters takes an unexpected turn, she suddenly discovers there’s pleasure to be had in pleasuring oneself. Not long after, she attends a four-day Catholic retreat, where she struggles to reconcile her nascent urges with the prospect of eternal judgment
When Los Angeles-based cinematographer Quyen Tran was selected to shoot the new film Palm Springs she knew she had a short production schedule, which made her pre-production planning even more critical than usual.
When cinematographer Geoffrey Hall, ACS (Chopper, Red Dog: Escape from Pretoria) was asked to shoot Halifax: Retribution, a reboot of the popular Australian TV crime drama series, Halifax f.p. that ran from 1994-2001 on Channel Nine, he saw it as a challenge. “The original series always had exceptionally high production values – it was a quality show that enjoyed a good budget and featured the best actors,” said Hall. “For the new show, I wanted to carry on that feeling of quality and give it a big, glossy look. I was after a look that would put the series in a class of its own.”
When it came time start work on the long-anticipated TV adaptation of Eleanor Catton's Man Booker prize-winning novel, The Luminaries, the filmmakers knew that one of their biggest challenges was to recreate the universe portrayed in the book. Produced by the BBC, Working Title Television and Southern Light Films and adapted for the screen by Catton herself, the six-part mini-series tells an epic story of love, murder and revenge, as men and women travelled across the world to make their fortunes on New Zealand’s South Island in the boom years of the 1860s gold rush.
When it came time for cinematographer John Conroy to develop the look for Showtime’s Penny Dreadful: City of Angels spin-off, he had already shot eight episodes of the original Penny Dreadful under his belt.
Inspired by Michael Connelly’s Harry Bosch novels, the Amazon Prime Video police-procedural series Bosch premiered its sixth season on April 17. The show has also been renewed for a seventh and final season, offering one last outing for the eponymous LAPD homicide detective. Cinematographer Patrick Cady, ASC has been behind the camera for roughly half of the show’s 60 episodes to date, going back to Season 1. From the beginning, Cady and his collaborators have sought to create a sense of realism grounded in the show’s Los Angeles locations.
When cinematographer Scott Peck first learned that he was going to be shooting Stargirl, a new series on the DC Universe streaming service, he started doing a lot of research about the original DC Comics character Stargirl and its creator Geoff Johns.