Few know underwater cinematography and how to light the great blue sea better than Pete Romano ASC. His unique specialty has made him sought after for most major films where’s there’s any underwater action. His 40-year underwater track record is unmatched. IMDB tries but at 159 credits for film and television they just skim the surface, especially considering the multitude of commercials, music videos and documentaries to count.
This Wednesday, December 16, at 11:00 a.m. PST, G-Technology’s Martin Christien is hosting a live Zoom conversation with cinematographers Eve Cohen and Jim Geduldick to discuss the various challenges that they have each encountered recently in the midst of the pandemic regarding schedules, production workflows, products/gear, and ensuring safety within physical and virtual production spaces.
Fugitive Dreams, based on the play by Caridad Svich, is an allegorical road movie touching on themes of homelessness, mental health and addiction, as two lost souls embark across a dreamscape America. Their darkly strange journey confronts them with their traumatic pasts, and bonds them in compassion and love. For cinematographer Peter Simonite, ASC, CSC lensing the film meant needing a vintage look — but a look that was also consistent between lenses.
In the early aughts, in a small Iowa town, Alice — a student at the local Catholic high school — enjoys watching Titanic and testing her knowledge of movie titles with word scrambles played in online chat rooms. When one of her internet encounters takes an unexpected turn, she suddenly discovers there’s pleasure to be had in pleasuring oneself. Not long after, she attends a four-day Catholic retreat, where she struggles to reconcile her nascent urges with the prospect of eternal judgment
The Tesuque Pueblo, a small northern New Mexico Native American tribe has opened a movie studio in a former casino. It is the first movie studio to be owned and operated by Native Americans.
Amazon Studios and Original Headquarters started principal photography on director Julia Hart’s I’m Your Woman this week in Pittsburgh. “I am incredibly grateful to have the opportunity to make this movie with this genuinely wonderful cast and crew, and couldn’t be more excited to be doing it with Amazon Studios. Amazon has a proven track-record for telling bold, diverse and singular stories, and we’re thrilled to be included amongst them,” said Hart.
The Long Walk is the third feature film by director Mattie Do (Chanthaly, Dearest Sister), who was raised in Los Angeles but relocated to Laos to become the country’s first, and only, female filmmaker. In an interview in Women and Hollywood, Do described her genre-bending film as “an unconventional time-travel thriller set in a forgotten rural village in Laos, about the ethos of a man, plagued by regret and loneliness, and his downward spiral into becoming a serial killer. He also has a very complicit ghostly friend.” Cinematographer Matthew Macar shot the low-budget feature over 32 days in Vientiane, Laos with very little prep time.
The goal of the filmmakers behind the Showtime series On Becoming a God in Central Florida was to create a softer look to tell the 1992 story of Krystal Stubbs (Kirsten Dunst), a minimum-wage water park employee who lies, schemes and cons her way up the ranks of Founders American Merchandise (FAM) — the cultish, flag waving, multi-billion dollar pyramid scheme that drove her family to ruin.
The production of the feature film Brittany Runs a Marathon presented several challenges. The directorial debut of Paul Downs Colaizzo, the film was shot by cinematographer Séamus Tierney, who came to the project late. That was just one of the reasons he was grateful to have the Panavision family of services to back him up, including camera support and Light Iron post-production.
Yesterday, the new British musical comedy directed by Danny Boyle, which was released last month following its debut at the Tribeca Film Festival, used as many as twelve cameras for some scenes. This presented some serious workflow challenges. To address them, cinematographer Christopher Ross BSC, who had previously worked with Boyle on the TV series Trust was joined by Mission digital imaging technician Thomas Patrick who had worked with him for the first time on Trust in 2017.