Arri has endorsed B-Mount as a universal 24 V battery industry standard. The new B-Mount battery interface, as used in current and future Arri cameras and lights, is rapidly being adopted as a brand-agnostic industry standard, bringing benefits to Arri customers and the entire global industry.
The Vitec Group has acquired Quasar Science, a leading LED lighting technology provider. The business will become part of the Group’s Production Solutions Division alongside Litepanels the award-winning supplier of LED lighting panels for television lighting and cinematography acquired by the Group in 2008.
Markus Förderer, ASC, BVK doesn’t take chances on set. He considers shooting days precious, so he rigorously tests new gear, new moves and new ideas long before he gets to set. “Shooting days are there to shoot” he says, “not to set up and light,” so he comes to the set prepared. The highly visually driven film, Bliss was no exception. A science fiction drama, it stars Owen Wilson as Greg and Salma Hayek as Isabel. The story is set around a man whose life is in disarray when he meets a beautiful woman who tries to convince him he is living in a simulation.
Arri has introduced Remote Solutions, a toolkit that can be customized to meet near-set and off-set workflows. This remote production ecosystem allows professionals to safely and immediately get back to work without compromising operational and creative control.
Claudia Raschke is an award-winning New York City based cinematographer best known for such films as Oscar-nominated and Emmy winning RBG (Magnolia/ Participant/ CNN), Oscar-nominated God is Bigger Than Elvis (HBO), Peabody Award-winning Black Magic (ESPN), Oscar short-listed Mad Hot Ballroom (Paramount), Particle Fever (Bond), Atomic Homefront (HBO), and The Freedom to Marry (Argot Pictures). Her latest film, which screened at this year’s Sundance Film Festival, is My Name is Pauli Murray. Fifteen years before Rosa Parks refused to surrender her bus seat, and a full decade before the U.S. Supreme Court overturned separate-but-equal legislation, Pauli Murray was already knee-deep fighting for social justice. A pioneering attorney, activist and dedicated memoirist, Murray shaped landmark litigation—and consciousness— around race and gender equity. As an African American youth raised in the segregated South—who was also wrestling with broader notions of gender identity—Murray understood, intrinsically, what it was to exist beyond previously accepted categories and cultural norms. The film was made by the same team that made RBG including directors Julie Cohen and Betsy West, producer Talleah Bridges McMahon and editor Cinque Northern. My conversation with Raschke, via email, began with that team.
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.
When Timur Civan was called upon to shoot a music video for the title track of Lush Life by the New York City-based band, Orion, he took his cue from the pop rock tune and decided to have fun with it. Dubbed “bouncy music for bouncy people,” its reggae vibe brings to mind lilting palm trees, rainbows, warm sunny colors, and sweet, simpler times. It’s no surprise TikTok fans are having a ball with it.
Making lead actors and actresses look their very best has been a challenge for cinematographers since the earliest days of film. So it was business as usual when series creator and showrunner Liz Feldman wanted her main actresses to look their best on screen for season two of her hit Netflix show Dead to Me. She brought in cinematographer Toby Oliver, ACS to handle the job.
When it came time to return to the world of Thra and reimagine the Dark Crystal movie for a whole new generation on Netflix, cinematographer Erik Wilson’s goal was to transform the puppets and make them more majestic. “You get into the politics and you get into the characters and you forget that they’re puppets,” he says
Cooke Optics TV, the educational website containing interviews with some of the world’s most renowned cinematographers and filmmakers, recently travelled to Pixar Animation Studios to discuss animation and cinematography with some of its top creative talent.