“When Woody Allen asked me to do Café Society, he had never done a digital capture before, but I knew that I had to jump completely into this new chance we had,” said Vittorio Storaro. “I wanted to see images on set that would be very close to the final result and afterwards on dailies even closer, almost 90 percent of that way to what we would see at the end.”
Cinematographer Stefan Duscio recently finished shooting Greg McLean’s psychological thriller Jungle: A Harrowing True Story of Survival, based on Yossi Ghinsberg’s memoir. The film recounts Ghinsberg’s 1982 journey through the Amazon where he ended up alone for three weeks before being found and rescued. Jungle stars Daniel Radcliffe in an Arclight Films production, directed by Greg McLean and lensed by Stefan Duscio.
Assimilate’s Scratch 8.5, build 909, now includes support for Red’s new 8K Weapon Helium Sensor, as well as the 8K Weapon VistaVision-sized full frame sensor. Support includes the Log3G10 gamma space and RedWideGamutRGB color space.
When Luke Sauer, veteran director of photography of reality television production, including Wives with Knives and I (Almost) Got Away with It, was selected to shoot the Lasso he knew it would involve a lot of night shoots. Lasso, a survive the night thriller directed by Evan Cecil, centers around senior community center workers Kit (Lindsey Morgan) and Simon (Andrew Jacobs), whose lives are turned upside when they find themselves fighting to stay alive against a group of bloodthirsty cowboys from the local rodeo. Lasso is his first feature project. Currently in post-production, the film is slated for an early 2017 release.
Director/DP Hal Long had a challenge. “The producers (including Bill Rogin and Cole Klapman) are committed to having a 4K master for residual use,” Long said. “And for season two, I wanted a 4K camera that would deliver better color accuracy and separation.” Long, a longtime user of Panasonic P2 cameras said that was why both seasons of Gunny Time were shot and finished in 4K with Panasonic VariCam 35 4K cinema camera/recorders.
The Board of Governors of the American Society of Cinematographers has elected Kees Van Oostrum to serve as president of the organization. This is Oostrum’s first term, which will run for one year, beginning immediately. The ASC Board also selected its slate of officers. They include: Bill Bennett, Dean Cundey and Lowell Peterson as vice presidents; Levi Isaacs as treasurer; Fred Goodich as secretary; and Roberto Schaefer as sergeant-at-arms.
Panavision has joined the growing list of companies to support Cooke Optics’ /i Technology , pledging to build support for Cooke Optics’ /i Technology protocol into its portfolio in the future. Cooke's /i Technology is an open metadata protocol that enables film and digital cameras to automatically record key lens data for every frame shot and provide it to post-production teams digitally.
Cine Gear Expo proved once again to be Hollywood’s pre-eminent gathering for members of the top motion picture, video and new media community to see the latest industry art, technology and trends. This year did not disappoint the nearly 16,000 attendees. Highlighting the 2016 Special Screenings was Vittorio Storaro being honored with Cine Gear’s Cinematography Lifetime Achievement Award.
Post work for director Rebecca Miller’s new romantic comedy Maggie’s Plan, currently in wide release from Sony Pictures Classics, was a labor of love for Technicolor PostWorks New York. A long-time supporter of independent film, the facility furnished suites and systems to picture editor Sabine Hoffman and her crew. It also provided resources for dailies processing, editorial finishing, color grading, sound mixing and deliverables. The project involved months of concentrated effort, spanning pre-production through the film’s world premiere at the Toronto International Film Festival.
Director James Gunn is using Red’s 8K Weapon camera on Marvel’s latest cosmic adventures in Guardians of The Galaxy Vol. 2. Behind-the-scenes, Codex workflow systems, operated by Santa Monica, London and Atlanta based production services company Shed, are enabling the smooth and speedy transition of a river of 8K data from on-set into post production. The cinematographer on Guardians of the Galaxy Vol. 2 is Henry Braham BSC, who previously used Red Epic cameras on The Legend of Tarzan. He is one of the first DPs to deploy the new Red Weapon camera, fitted with the 8K Red Dragon sensor, on a long-form show, describing it as “the little big camera. Perfectly counterintuitive. And perfect for this production.”