Lighting

Yedlin Presents On Acquisition and Pipeline for High-Resolution Exhibition

Thu, 05/03/2018 - 11:44 -- Nick Dager

Cinematographer Steve Yedlin, ASC will present his work on cinema image quality at this month’s Society of Motion Picture and Television Engineers’ Hollywood Section meeting May 16 at the Linwood Dunn Theater. The two-part demonstration, titled On Acquisition and Pipeline for High-Resolution Exhibition, premiered at Camerimage in 2016 and now is widely available online. The SMPTE Hollywood Section event will give attendees the opportunity to view Yedlin’s demonstration in a high-quality theatrical exhibition venue.

Capturing The Morning After

Tue, 11/14/2017 - 15:24 -- Nick Dager

Shanra J. Kehl’s The Morning After features eight intercut vignettes shot in eight locations in 11 days, telling the story of the moment when you wake up next to someone... the next morning. Kehl served as director/writer/producer and cinematographer on the film. She shot with shot with Cooke S4/I lenses.

Giving Reality a Cinematic Look

Wed, 08/23/2017 - 14:36 -- Nick Dager

MTV’s new reality series, Siesta Key, takes the tried and tested concept of earlier efforts like Laguna Beach: The Real Orange County and moves it to Florida, following a new group of young adults confronting issues of love, heartbreak, betrayal, class, and looming adulthood as they spend the summer together in their beautiful hometown. Siesta Key is set on a small barrier island off the coast of Sarasota. Cinematographer Gareth Paul Cox shot the series with VariCam 35 and LT cinema cameras.

Avoiding Torn Frames in Ghost

Mon, 06/12/2017 - 12:38 -- Nick Dager

Typically, torn frames appear when a flash or strobe is not properly timed with a camera’s shutter and frame rate. They appear as a flash in the bottom half of one frame followed by a flash in the top half of the next frame. An innovative light source helped Ghost in the Shell cinematographer Jess Hall, BSC avoid the problem and bring a new level of visual sophistication to director Rupert Sanders’ epic feature.

Through a Different Prism

Wed, 05/31/2017 - 15:32 -- Nick Dager

Director of photography Bobby Bukowski (When We Rise, Weeds, The Messenger, Arlington Road) has completed production of the upcoming Netflix series Gypsy, starring Naomi Watts and Billy Crudup. Bukowski shot the 10-episode dramatic series with Panasonic VariCam 35 4K camera recorders. “The greatest gift of the VariCam is the impetus to drop old habits, reinvent techniques and redefine who you are as an artist,” said Bukowski. “It’s wonderful and exciting to look at your craft through a different prism.

Arri Opening French Subsidiary

Wed, 05/17/2017 - 13:00 -- Nick Dager

In order to facilitate its business in France, Arri, the Munich-based film technology company, is announcing the founding of Arri CT (for Cine Technik) France. For the first time, Arri will have an office space solely dedicated to its camera systems and lighting business units in France while being able to offer a special promotional platform for the Alexa 65 available from Arri Rental. Arri CT France will open its doors in September in time to celebrate the company’s 100th birthday.

Comedy with a Cinematic Look

Fri, 03/10/2017 - 12:33 -- Nick Dager

Two Netflix shows – Master of None and Love – have three things in common: both are comedies, both have a cinematic look and cinematographer Mark Schwartzbard shot both. Created by comedian Aziz Ansari and Alan Yang, Master of None tells the story of Dev, a 30-year-old actor who attempts to balance his career and love life in New York City. Love, created by Judd Apatow (Trainwreck, This Is 40), Paul Rust, and Lesley Arfin, explores an intense relationship between two Angelenos, Mickey (Gillian Jacobs) and Gus (Paul Rust).

Fraser Relied on Outsight for Rogue One

Fri, 02/10/2017 - 13:03 -- Nick Dager

Award-winning cinematographer Greig Fraser, ASC, ACS, relied on the Creamsource Sky, a water resistant five-color 1200W LED light system from Outsight for Lucasfilm’s Rogue One: A Star Wars Story. “Creamsource Sky is just so flexible and renders colors amazingly,” said Fraser. “I am obsessed with the technical, and Creamsource Sky produces really great skin tones. That can be a benefit and a curse when having to mix Sky with lights from other manufacturers, so I use a single brand of lighting for each source — one for skylight, one for a window, and another for facial lighting.”

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