Am I Being Unreasonable?, the much-anticipated comedy-thriller series co-written by and starring BAFTA award-winner Daisy May Cooper and Selin Hizli, belies its low budget with a cinematic look. Shot by Slater Slater Ling, BSC, and directed by Johnny Campbell, the series is set in a small country village where Nic (Cooper) is lonely, bored in her marriage and haunted by a huge secret. One of the biggest challenges was to move away from a standard low-budget comedy look.
Cinematographer Tat Radcliffe, BSC, chose the Cooke S7/i prime lens range paired with a Sony Venice to shoot the much-anticipated Netflix film adaptation of Matilda the Musical. Although it was important to stay true to the spirit of the stage show the team had to calibrate any sense of artificial stage.
For award-winning cinematographer Aaron McLisky, ACS, and for Academy Award winning director, co-writer, and leading actor Russell Crowe, shooting the psychological thriller Poker Face came down to two things: achieving a modern look that maintained a painterly quality as well as choosing the right aspect ratio to capture the ensemble cast in a single frame. One other challenge on the set was having a director who was also the leading actor.
Capturing and producing high-quality dynamic and fast-paced vehicle footage creates some of the most testing logistical challenges that film, television, and commercial production teams contend with. Kala, a production, and dynamic camera movement company based in Canada, is all too aware of the challenges of shooting moving vehicles.
Cooke Optics has released a 19-40mm wide zoom in its Varotal/I FF range, which joins the 30-95mm medium and 85-215mm long zooms that were launched at the end of 2021. The 19-40mm zoom completes the Varotal/i FF series, enabling Cooke to offer broad focal length coverage for most production needs.
Cooke Optics is planning to launch a new zoom lens at EnergaCamerImages 2002 November 12-19 in Totun, Poland and is offering cinematographers the chance to try that, the new Varotal/i FF and S8/i FF ranges, and a selection of other lenses.
When cinematographer Zach Kuperstein got the job to shoot writer-director Zach Cregger’s horror feature Barbarian, one of the first things he did was reach out to Light Iron senior colorist Sam Daley. The two had previously worked together on a short and three independent features — The Eyes of My Mother, The Vigil, and Paper Spiders — but their collaborations began during post, not during pre-production.
Low budget films with a captivating story and compelling cinematography can compete with films budgeted in the hundreds of millions of dollars. It’s a lesson proven by the Netflix independent feature Purple Hearts from director Elizabeth Allen Rosenbaum and cinematographer Matt Sakatani Roe. Purple Hearts became number seven in Netflix’s Most Popular Films List just 28 days after its release on July 29 with 220.6 million hours watched. It also became the number one film on Netflix in the UK within one week of its premiere.
On September 8, the Tiffen Company, Videndum Production Solutions, and Creative Solutions are joining forces to present an in-person evening of cinematic conversation with peers and pros.
SMPTE Hollywood will explore the latest developments in camera color science and their impact on production and post-production at its monthly meeting slated for August 25 at 6:00 p.m. at the historic Linwood Dunn Theater in Hollywood. The event is free and open to everyone.