Sony today confirmed that filmmaker Woody Allen has chosen Sony CineAlta for his first ever-digital shoot. For this special project, Allen will be shooting with Sony’s CineAlta F65 camera and the film will be mastered in 4K. The F65 has long been the choice among filmmakers around the world, including critically acclaimed cinematographer Vittorio Storaro, who will be working with Allen on the currently untitled film.
Ant-Man is a comic-book superhero that uses a special suit to shrink in size while gaining in strength. In the latest Marvel creation for the big screen, Ant-Man’s adventures involve a battle against a foe that uses similar technology for nefarious ends. The project, directed by Peyton Reed and photographed by Russell Carpenter ASC, extends the strong and successful working relationship between Marvel and Codex. Issues of scale and how to convincingly present it to the audience dominated most of the decisions about cinematography and visual effects. For guidance, the filmmakers looked at films with similar characters going all the way back to Darby O’Gill and the Little People, photographed with extensive forced perspective and giant props in 1959 by Winton Hoch ASC.
Two-time Oscar nominee John Mathieson BSC (Gladiator, The Phantom of the Opera, Robin Hood, 47 Ronin) recently completed work on The Man from U.N.C.L.E., an update of the stylish 1960s television series of the same name. Mathieson says that he would have preferred to shoot film, but that the demise of some of the major film laboratories in the U.K. made it impossible. He did shoot a little bit of 16mm film on a wind-up Bolex (processed at Bucks Laboratories) for the opening of the film, to bridge some archival footage from the period with the main storyline. In some ways, the colors and textures of the period production design lent themselves to digital, he says.
The Digital Cinema Society has partnered with DPS Cinema to present an in-depth look at their Enhanced Environments system. The one-day invitation only event brings together for the very first time DPS Cinema’s Enhanced Environments, Panasonic's VariCam 35, and the new Codex Raw Recorder. The event will be held Saturday, August 8th at the DPS Grid @ Los Angeles.
In a world where storytelling reigns, Crooked Letter Films' visual narratives have made lasting impressions for brands like Columbia Records, Refinery 29 and H&M. Based in New York, the one-stop shop conceptualizes, executes and delivers compelling digital stories for a range of clients, guiding each project from beginning to end.
The Board of Governors of the American Society of Cinematographers has re-elected its slate of officers for another term. Continuing to serve in their roles will be Richard Crudo as president; Owen Roizman, Kees Van Oostrum and Lowell Peterson as vice presidents; Matthew Leonetti as treasurer; Fred Goodich as secretary; and Isidore Mankofsky as sergeant-at-arms.
Radiant Images will showcase its growing stable of customized virtual reality rigs, gimbal POV rigs and other one-of-a-kind filmmaking tools at the annual J.L. Fisher event on May 16 in Burbank.
Phedon Papamichael, who is best known for big-screen cinematography on movies including The Descendants, The Ides Of March, The Monuments Men and Nebraska, which brought him an Oscar nomination in 2014, often shoots and directs commercials, where he can lavish attention on each moment and try out the vary latest gear. He recently shot and co-directed a branding film for the Infiniti QX50 with Codex Action Cams.
Codex has once again collaborated with Arri to develop the recording and workflow system for Arri’s next evolution of the Alexa camera – the Alexa SXT.
Academy Award nominee and American Sniper cinematographer Tom Stern will appear in a conversation at the National Association of Broadcasters Show in Las Vegas in April. The session, Heroes, Legends and American Sniper: A Conversation With Tom Stern is the Keynote Presentation of the Creative Master Series and is produced in partnership with the International Cinematographers Guild Local 600.