Schneider-Kreuznach has introduced Xenon FF-Prime Cine-Tilt lenses that combine similar form-factors and capabilities of the company’s popular Full-Frame Primes with added tilt function up to ±4°. By sustaining the field of view during focus and tilt actions, the new Cine-Tilt design makes possible previously unimaginable images from the freely moving and tilting focus planes.
The Optical Devices Division of FujiFilm has appointed Tom Fletcher as director of sales. In his new role, Fletcher will oversee sales and promotion of broadcast and cinema lenses in North America. Working under the guidance of division vice president Gordon Tubbs, Fletcher will lead the sales efforts of six regional managers in North America. Fletcher’s position is effective immediately.
When cinematographer Johan-Fredrik Bødtker, FNF was selected to shoot the forthcoming Norwegian drama series, Valkyrien, he knew what look he wanted. “I wanted the series to feel clean and contemporary but move away from the typical Nordic noir look. It was also very important to me that we could capture the details and mood on all of the different sets, especially the dark and dirty ones,” said Bødtker. “I needed a glass that was sharp, but not too sharp, that would have the right fall off and bokeh, and that would not flare or ghost as soon as the camera was pointed at a light source.”
Red Dog: True Blue is the iconic Australian story of friendship and adventure between a young boy and a scrappy one-of-a-kind dog that would grow up to become an Australian legend. The film is the prequel to 2011's Red Dog. Both films were directed by Kriv Stenders, written by Daniel Taplitz, and photographed by Geoffrey Hall. The film features wide desert vistas of Western Australia. It was shot full 2.40 anamorphic using an Alexa XT with a Cooke Anamorphic/i lens package from boutique rental house HyperFocal of Sydney.
The upcoming feature film Maine follows the journey of a married woman from Spain to reclaim her identity while solo thru-hiking the Appalachian Trail, a trip that is sidetracked when a lone American hiker pursues her. Cinematographer Donald R. Monroe said, “Simply getting to our locations proved a major hurdle. Frequently, each day began by transporting the entire production over a mile via ATVs; then the shooting crew would walk an additional ten minutes to the location. We were often far from battery charging and data transfer stations— the high-capacity P2 cards allowed us to be largely self-sufficient.
The long-awaited sequel to the 2003 holiday cult classic, Bad Santa (directed by Terry Zwigoff), Bad Santa 2 is directed by Mark Waters (Vampire Academy, Mean Girls). Theo Van de Sande, ASC (Blade, Cruel Intentions, Wayne’s World) shot the dark comedy with Panasonic VariCam 35 4K cinema cameras. Comedy or not, Waters and Van de Sande wanted the film to have a darker look. For developing the look of Bad Santa 2, Van de Sande did not use any visual references, including the original Bad Santa (shot by Jamie Anderson).
Ben Davis, BSC has become an old hand in the Marvel universe. Doctor Strange marks his third Marvel film as director of photography. He also shot the global hits Avengers: Age of Ultron and Guardians of the Galaxy. “Marvel very much is a universe with its own language, but the three films I've done have been vastly different.”
Boston-based rental house and reseller Talamas has purchased a Fujinon Premier PL 20-120mm Cabrio XK (XK6x20) zoom lens. Talamas is the first in the New England area to buy the recently introduced lens, which they purchased last month to demo, rent, and sell to clients for ENG-style video and cinema production.
Cinematographer Tony Miller, BSC, has been nominated for a 2016 RTS Craft & Design Award for Photography – Drama & Comedy, for his work on the acclaimed BBC comedy series Fleabag. Miller shot the series using Cooke Optics anamorphic lenses.
Richard Bakewell, best known for his camerawork on such television shows as Cops and Intervention, recently penned his second film. To create a proof-of-concept and short film based on an ‘80s throwback horror-genre feature-length screenplay Postpartum, he took the helm as director and executive producer.