Mathers Relies on OConnor Support
Cinematographer James Mathers often chooses projects that have passion, heart, and a positive message. Such was the case of his latest production, 1000 to 1: The Cory Weissman Story.
Lenses
Chasing the Land Speed Record
Paul Rees, an experienced still photographer for globally respected advertising agencies and magazines, relied on his instincts as he transitioned to digital cinema to document the North American Eagle Project, a joint U.S.-Canadian initiative to challenge the world land speed record (763 mph, or Mach 1.02) for rocket-powered automobiles. Rees’ camera of choice for this task was the Canon EOS C300 digital cinema camera.
Choosing the Right Camera for the Job
A director of photography for the past two decades, David Klein, ASC, has shot movies and television shows using numerous film and digital formats. “Every motion-picture film stock has its own look,” he said, “and that’s true of every digital cinema camera as well.”
Fujinon’s PL 85-300mm Cabrio Lens Wins 2013 Cine Gear Expo Award
Fujinon’s PL 85-300mm (model ZK3.5x85) Cabrio lens has received a 2013 Cine Gear Expo Technical Award.
Cinematographer Marco Fargnoli Captures Big City Life and Love on The Mindy Project
The Mindy Project brings the misadventures in romance of a young OBGyn, Mindy Laheri (played by show creator Mindy Kaling) and her comical observations on life and love in the big city to television. Cinematographer Marco Fargnoli relies on OConnor 2575’s for support on the Fox Network program.
Shooting the Sony F55 Digital Cinema Camera at 5000 ISO
DP Jendra Jarnagin recently shot a night scene for an independent feature shooting the Sony F55 Digital Cinema Camera at 5000 ISO.
Shooting Fast for Lincoln Motor Cars
Cinematographer Eric Koretz and director Elliot Rausch recently shot a short for Lincoln Motor Cars titled Get Back and became one of the four teams to capture the first content officially sponsored by Vimeo.
Run-and-Gun Shooting Style Adds Punch to Blunt Force
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.
Redemption Grows from Web Series into Feature Film
It’s taken several years for cinematographer Lan Bui to bring Redemption: The Darkness Descending to completion. But it’s been worth the effort. The multi-platform project began as a 24 episode web series that allows the audience to enter an underground world and become part of the story through a groundbreaking interactive app, and has since grown into a feature film.
Schneider Optics Introduces iPro Lens System for iPhone 5
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.
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