The Netflix series GLOW, which launched its 10-episode third season in August 2019, brings the Gorgeous Ladies of Wrestling to Las Vegas and the fictitious Fan-Tan Hotel and Casino. The production captures the personal and professional lives of a group of women who perform for a wrestling organization that started in Los Angeles but now find themselves in glitzy Las Vegas during the 1980s. Cinematographer Chris Teague met with show creators, executive producers and episode writers Liz Flahive and Carly Mensch to pitch his ideas for the new look of GLOW for its new Las Vegas setting, which is where they realized that everyone was on the same page.
Cooke Anamorphic/i lenses
The Netflix Film The Perfection, which was shot by cinematographer Vanja Černjul, ASC (The Deuce, Crazy Rich Asians), directed by Richard Shepard (The Matador, Dom Hemingway, Girls), and written by Eric C. Charmelo, Nicole Snyder, and Richard Shepard, follows the story of a troubled musical prodigy who seeks out the new star pupil of her former school with shocking consequences.
Two visual effects-heavy commercial spots for Disney highlighting the latest Star Wars toys and merchandise benefited from play to the firing of children’s imagination: Choose Your Path focuses on The Last Jedi merchandise, featuring three children playing in an attic bedroom; a boy puts down a Kylo Ren toy, which then comes to life to fight Lego starships, while two of the children duck as a ship speeds past them on the red salt flats of Crait – which then seamlessly turn back into the bedroom with a classic Star Wars wipe. Galaxy Of Adventures features the original Star Wars trilogy and Solo: A Star Wars Story, with more children playing in an attic room, interacting with the toys and merchandise in a series of tableaux reminiscent of scenes from the films.
Regardless of budget, every director and cinematographer wants their film to look its best. That was no different with Blood Runs Thick, a low budget, indie horror feature from director Romane Simon and shot by Los Angeles-based Nik Shaw.
The third and final series of ITV’s acclaimed TV crime drama Broadchurch was shot using Cooke Anamorphic/i lenses by cinematographer Carlos Catalan. The unusual decision to shoot a TV drama anamorphically was taken to make the most of the wide vistas of the coastal setting, and to bring a cinematic look to the story.
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.
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.
Cinematographer Stefan Duscio recently finished shooting Greg McLean’s psychological thriller Jungle: A Harrowing True Story of Survival, based on Yossi Ghinsberg’s memoir. The film recounts Ghinsberg’s 1982 journey through the Amazon where he ended up alone for three weeks before being found and rescued. Jungle stars Daniel Radcliffe in an Arclight Films production, directed by Greg McLean and lensed by Stefan Duscio.
When director of photography Julián Apezteguia, ADF (La Asociación de Autores de Fotografía Cinematográfica Argentina — Argentinian Society of Cinematographers) got the chance to work with director Pablo Trapero for the second time, on the director's latest film El Clan — a dark story set in the 1980's about a family of kidnappers and murderers — they used a full range of Cooke Anamorphic/i lenses to give the film a “strong optical personality.”