Cinematography
Filmmaking - Cinematography
-
ARRI Reigns Supreme at the Oscars
Setlife Magazine has generously compiled the technical specifications of the films nominated for the Cinematography, Directing and Best Picture Oscars, and let’s just say ARRI shows up more than once. All of the Cinematography nominees were photographed on an ARRI (3 Alexas versus 2 Arricams), with a mix of Panavision, Zeiss, Cooke and Angenieux lenses. Also noted were the films’ negatives and prints, which bandied back and forth between Kodak and Fuji. Only her (C300) and The Wolf of Wall Street (EOS C500) opted for Canon, in addition to their arsenal of Alexas and Arricams. Notably absent is any sign of Red. […]
-
Hitchcock to Scorsese: 47 Years of the Dolly Zoom
A week ago, I posted a rundown of the visual effects at work in The Wolf of Wall Street, which, at least to this eye, appear fairly seamless. As wonderful as computers are, however, there’s nothing quite like a good, old-fashioned in camera effect. The dolly zoom — pushing or pulling the camera while zooming out or in (respectively), and keeping focus locked on the subject — lends its resulting surrealistic planes to thrills, suspense, action or even a meaningful chat. The invention of a Paramount second-unit cameraman, Irmin Roberts, and a favorite of Scorsese, Hitchcock, Spielberg and Tarantino, this new video […]
-
Joseph Oxford and Bradley Stonesifer Create a World in Cardboard for Me + Her
Director Joseph Oxford and cinematographer Bradley Stonesifer created an imaginary world using cardboard boxes and rubber bands for their animated short film Me + Her. A labor of love that evolved over four years, their work was rewarded when the film was accepted into Sundance’s Short Film program. Oxford has worked in the industry since 2007 in a variety of roles, including production assistant and art director, but Me + Her is his first project as writer and director. Oxford first met cinematographer Stonesifer through a director friend, and they both worked on the film The Vicious Kind in 2008. […]
-
UT3D
While Hollywood continues to generate three-dimensional spectacles, directors, industry pundits and audiences all continue to question the technology’s validity. In a recent story in The Hollywood Reporter highlighting the DVD release of The Wolverine, which includes a 3D Blu-ray, director James Mangold said, “The question is whether 3D will survive or not,” adding, “Is it more than a gimmick and can we make it more than a gimmick?” And after ESPN announced last June that it would shut down its three-year-old 3D sports channel by the end of 2013, Variety’s David S. Cohen explored both the predictions of total demise […]
-
Astonishing Surfing Video Shows Power of Camera Drones
The technology cited by Filmmaker‘s Michael Murie in his 2013 Camera Tech Year-End Review is behind a beautiful surfing video by Eric Cheng that seems to be embedded on just about every site this morning. Five minutes of surfing bliss captured at Steamer Lane in Santa Cruz, California, the video features aerial shots of surfers, singly and in formation, that previously would have required expensive helicopter shoots. According to Cheng’s Tumblr, the footage was “taken with a DJI Phantom quadcopter, GoPro HERO3 Black edition camera, Rotorpixel HERO3 gimbal (http://rotorpixel.com), ReadyMadeRC FPV transmitter, receiver, and remote monitor, and modified DJI Phantom […]
-
Test Footage from Letus’ GoPro Anamorphic Adapter
Since Leviathan, I’ve been more curious than ever about the functionality of GoPros. Often categorized as toys and far more prevalent on ski slopes than sets, it took Lucien Castaing-Taylor and Verena Paravel strapping the pocket-sized gizmo to the underside of a fishing vessel to illustrate its cinematic advantages. A little while back, Letus announced the release of a 1.33X Anamorphic Adapter for the camera, to be known as the AnamorphX-GP. Scheduled for shipment on January 31st, the first wave of test footage has arrived from Jared Abrams at Wide Open Camera. Though the characteristic fish eye traces remain intact, the wide aspect […]
-
Cinematographer Gordon Willis Explains the Elegance of Simplicity
The simpler the better, or so says Gordon Willis, celebrated cinematographer of The Godfather, Manhattan and Annie Hall. Willis echoes Steve Jobs in his belief that simple outshines complex and stresses sticking only with the necessary in making choices. As he sees it, one natural window light can do much more than six artificial ones, and the bare bones of an idea often do the heavy lifting in communicating the story to an audience. The full Craft Truck interview with Willis can be viewed here.
-
The Year in Gear: Goodbye 2013, Here Comes 2014K
It is perhaps indicative of how low-key this year was that when I first scribbled out a list of things that were “big” in 2013 I discovered that half of them were on last year’s list! In many respects 2013 proved to be a year of tentative advances and waiting, rather than one of incredible new tools to play with. Which is not to say that some interesting products weren’t announced and delivered. Sony shipped the F5 & F55, as well as the 4K upgrade for the NEX-FS700, and at the other end of the spectrum Blackmagic shipped its $1,000 […]
-
Film Versus Digital: the Canon 7E and 5D
Despite the rise of the digital medium, its constant comparisons to film are not likely to die down any time soon. In this short video for PBS Digital Studios, Shanks FX produces several animated juxtapositions of images captured by a digital Canon 5D versus a Canon 7E film camera. A few of the results may surprise you: digital filters can render filmic qualities — specifically its grains and imperfections — rather accurately. From the other side of the equation, you may be surprised to see just how deep color schemes appear on film relative to high-quality video. Take a look […]
-
12 Years a Slave D.P. Sean Bobbitt on Handheld Cinematography
“You always have to question when a director says, ‘Let’s go handheld.’” At Poland’s Camerimage International Film Festival a few weeks back, d.p. Sean Bobbitt gave an ARRI workshop keynote on the role of handheld cinematography in filmmaking. Far too often, directors, according to Bobbitt, resort to the use of handheld simply because they have no other ideas: “If we do handheld, it will feel kinetic!” and the like. But a knee-jerk instinct is not good enough — Bobbitt believes you should be able to justify every technical decision in the script: “The first and most important consideration is, does […]
