The film We Are Lady Parts is Nida Manzoor’s anarchic and irreverent music comedy about a Muslim female punk band – called Lady Parts – who are on a mission to find a lead guitarist and maybe, just maybe, get a proper gig. It was the first time she and cinematographer Diana Olifirova had worked together, but Olifirova described all the people on board for the series as a dream team.
A cinematographer, executive producer, and whiskey aficionado, Johnny Derango was corresponding with the owner of The Bottle Haus, an online liquor retailer, who it turned out was looking for someone to create a series of commercials to promote their business on social media. “The directive given to me was to do a commercial that gives the bottles personality, as well as be funny,” said Derango. “It was very open ended, so I had to conceptualize that.”
“When you’re preparing a film you can indulge in dreamy conversations –– it’s an essential part of the process that gets infused into the work,” says cinematographer Sam Levy. “But once you’re on set, and the clock is ticking, you find yourself a passenger on a moving train. Sometimes it’s a slow-moving train, but that train is moving. This was very much the case when we shot Karen Cinorre’s new film Mayday.”
Purpose built for cinematography and made in Germany, the Leitz Elsie lenses are designed for full frame performance at a size, speed, and price point to serve a broad range of productions. The set features a consistent aperture of T2.1 across all 13 lenses from 15 mm to 150 mm.
Some of the world’s most spectacular views are best seen from halfway up a wall of rock. That’s a place where gear has to be reliable, whether it’s crucial safety equipment or the cameras that let the rest of us experience the same dizzying panorama. It’s also a familiar situation to alpinist Renan Ozturk, whose experience includes some of the steepest climbing challenges on the planet as well as documentary filmmaking and photojournalism covering everything from the freezing Himalayas to the African deserts of Chad.
The American Society of Cinematographers will hold its 36th Annual ASC Awards on March 20, 2022. Recognizing excellence in cinematography, the ASC Awards honor the extraordinary work of directors of photography who have excelled in the art and craft of visual storytelling in feature films, episodics, and documentaries. The annual ceremony will be held at the ASC Clubhouse in Hollywood and live streamed worldwide.
Produced for Amazon Studios, the feature film Birds of Paradise tells the story of two girls at an elite Parisian ballet academy that have their bond and bodies tested as they compete for a contract to join the company of the Opéra National de Paris. The film was directed by Sarah Adina Smith, who not only adapted the A.K. Small novel for the screenplay, but also happens to be director of photography Shaheen Seth’s wife.
In the 1990s, almost every cinematographer in New York was using Cooke Optics S4/i lenses for commercials, music videos, and independent features, this according to Aaron Medick, one of the cinematographers on Power Book III: Raising Kanan. He became lead DP in the second season for Power Book II: Ghost after starting as B camera/Steadicam operator and moving up to DP for Power, which launched the franchise for cable and streaming service Starz. And it should come as no surprise that many of the DPs on the franchise come from New York, including Power lead DP Tim Ives, ASC who also shot the pilot.
Writer-director John Michael McDonagh and cinematographer Larry Smith, ASC, BSC faced a race against time in the face of a threatening global pandemic to capture the vibrant colors and contrasting scenes of the Moroccan landscape for the feature film The Forgiven, starring Jessica Chastain, Ralph Fiennes, and Matt Smith.
The winners of FilmLight’s new colorist awards will be announced at EnergaCamerImage 2021 November 13-20 in Torun, Poland. The judging and awards are being organized with the co-operation of the American Society of Cinematographers, the International Federations of Cinematographers and the Colorist Society International. Roberto Schaefer, ASC AIC-Imago, said, “For years I have believed that as cinematographers we need to acknowledge that there is more to creating the best cinematography. The finished product is the work of many talented and artistic individuals who should be recognized in a wide, cross-departmental way. I hope that this will be a beginning.”