When an action movie script on a tight budget included such challenges as close-ups of mixed martial arts fighting, a high-speed car chase shot from a low-flying helicopter, and low-light location scenes, director of photography, David E. West, knew the solution was to capture it all using a Canon Cinema EOS C300 digital cinema camera, a Canon EOS 5D Mark II Digital SLR camera, and EF-Series lenses. Having used the EOS C300 camera on a previous assignment, West was enthusiastic about its portability and low-light advantages. He also owned an EOS 5D Mark II camera, and was a fan of Canon lenses both for photography and for shooting reality TV. West decided from the outset that the ambitious visuals needed for Blunt Force, a new film from director Daniel Zirilli, would make this an all-Canon project. Shot on location in Mississippi, the movie tells the story of an ex-soldier imprisoned and forced to be part of an Internet cage-fighting club.
While on location shooting the documentary about traditional silk weavers, Silkies of Madagascar, award-winning National Geographic stills photographer and video director David Evans decided to make the leap to Director of Photography.
Schneider Optics has introduced an iPro Lens for the iPhone 5. In addition, the system now offers a larger family of lenses, including a new Macro and Super Wide.
When Space Shuttle Atlantis, the newest attraction at Kennedy Space Center Visitor Complex in Cape Canaveral, Florida opened to the public on June 29, a new chapter in the story of interactive AV design for the themed entertainment industry was written.
Renowned artist Clifford Ross incorporated Maxon Cinema 4D software technology in the design process of The Austin Wall, a monumental and unprecedented stained glass work housed at the new United States Courthouse in Austin, Texas.
When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality.
It’s been such a very long day. In the eighteen years from Before Sunrise to Before Midnight, Celine (Julie Delpy) and Jesse (Ethan Hawke) have been talking about themselves, their lives, their problems. They’ve been having sex, falling in love, having children. They’ve gone from Vienna through Paris and now they’re in Greece. Have they made any progress?
The budget for this film was $225 million. I wonder if any of it was spent on the script? The trailers had convinced me it would be my favorite super-hero movie of the summer – a bit dark, introspective, with the right combination of visual effects and human emotion. The trailers lied.
There’s a whole college catalog of life lessons in this movie, but those lessons are pronounced rather than being tucked carefully into the story. Monsters University is more colorful than creative, fast-paced but a bit formulaic without being surprisingly funny.
If you’re not a ‘car guy’ – and I’m definitely not a ‘car guy’ – this is a really long and very repetitious movie. But it’s not a disappointing one because what you get is exactly what you expect – a movie that downshifts past an incomprehensible storyline, upshifts through poor acting, powers its way through massive plot holes, and slides around a total lack of suspense of any kind.