Heli is also one of the first films produced by Mexico’s burgeoning independent film industry to be captured with an ArriRaw workflow based on Arri’s Alexa camera and Codex’s Onboard Recorder.
Film director and cinematographer Patryk Kizny and LookyCreative assembled the 2010 short film The Chapel using motion controlled HDR time-lapse to achieve an interesting, hyper-real aesthetic.
Shooting in northwest Chicago, within an old 1900s box warehouse for Lauren Santee’s music video, Let Down, provided some challenges for producer/director Kevin Otterness.
Documentarian Bill Fenster — based in Phoenix, Arizona — is currently chasing Arizona gubernatorial candidate Fred DuVal around the state for a new documentary.
SIM Digital recently provided production and post-production equipment, services and support for the debut season of Spun Out, a new multi-camera sit-com from CTV and Project 10 Productions.
With its vintage jazz soundtrack and simple black and white credits where major actors are listed in alphabetical order, this is an instantly recognizable Woody Allen film, but not an extraordinary one.
Think of the Wolverine as the Marvel character with the bad haircut, played by an actor who is too old for the role.
Facing Fear is first-time director Jason Cohen’s powerful documentary short about the unlikely friendship between a former neo-Nazi and the gay man he victimized decades earlier. Kent Pritchett of Colorflow performed final color grading for the doc, which recently made its world premiere at Outfest Los Angeles where it won the Audience Award. Facing Fear is scheduled for a theatrical run at the Laemmle Music Hall Theatre in Beverly Hills, August 9-15.
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.”
One solution to a common challenge of independent filmmaking is to use multiple cameras to ensure scene coverage – especially of action scenes – to ideally save time and money. Unfortunately, because camera manufacturer settings vary, the end result can be contrasting images depending on which camera is used. This was the case with the new action sci-fi thriller Alien Hunger. Producer Jack Tucker, and editor Nancy Brindley Bhagia, had concerns in how the “horror look” would be created in the film due to lighting issues within some of the footage.