Cinematography
Filmmaking - Cinematography
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Cinematographer Zach Zamboni on Creativity and Shooting with Just Two Primes
Zach Zamboni, a cinematographer on Anthony Bourdain’s series Parts Unknown, recently spoke about his philosophy of shooting and being creative at an event in Boston. Particularly intriguing was his description of shooting an episode using just two prime lenses and his interest in shooting with Super 16 lenses on the Sony F55. About cameras, Zamboni said that he doesn’t believe one camera is “right or wrong” for a job. “The choice of camera will inform the lenses I’m going to put on that camera,” he remarked. “Those lenses will inform my behavior with that camera, and that will start to […]
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Digital Bolex Report: An Interview with Creative Director Elle Schneider
Elle Schneider, Creative Director at Digital Bolex, spoke about the project at this weekend’s Hacking Arts conference held at MIT’s Media Lab. The Digital Bolex project, the creation of a digital camera that is operated and styled like a 16mm camera, was funded through a Kickstarter Project. Held in March of 2012, the campaign raised twice the $100,000 goal and pre-sold 93 cameras. Schneider announced that they expect the camera will be available to order in six weeks, and they will ship the original orders even sooner. Schneider, who had an early beta version of the camera with her, talked […]
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Back to the Future D.P. Dean Cundey on SFX Then and Now
In the latest of our clips from Craft Truck‘s excellent interviews with cinematographers, Dean Cundey talks about the difference between how a particular scene in Back to the Future was shot in the mid-1980s and how it would be done now, neatly encapsulating the advances in film technology in the past three decades You can watch the full interview with Cundey here.
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The First Short Film Shot on the RED Dragon?
This morning, Norwegian filmmaker Gunleik Groven wrote me with a link to Sweet…, which he described as “Probably the world’s first short shot on [RED] Dragon.” In it, he creates four distinct worlds, each with a different look, and the results are very striking. For those of you who are tech-inclined and want to dig into the processes behind the short, check out this thread on the RED User message board in which Groven breaks down how he achieved each look.
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Cinematographer Reed Morano on Learning by Doing
In the newest installment of our Craft Truck video series, cinematographer Reed Morano offers the career advice of figuring it out as you go, even if that means bluffing a bit on set. In the rest of the interview, Morano, the d.p. of the crime drama Frozen River, discusses how creativity is the answer to limitation, particularly when she learned that she only had one day to shoot on ice in Frozen River. You can watch all of Morano’s charming interview here.
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Sony Announces PXW-Z100, Ushers Era of 4K Camcorder
Sony announced today at the IFA consumer electronics show in Berlin a new line of 4K camcorders, available this fall. The pro version will be called PXW-Z100, while the “consumer” version will be called FDR-AX1. Bucking the large-sensor trend I described recently in Filmmaker, the PXW-Z100 (from this point, I’ll detail the pro version only) contains a single 1/2.3-in. Exmor R CMOS sensor, a smidgen less than full half-inch. At first glance above, the PXW-Z100 would seem to do for 4K what Sony’s epochal HVR-Z1 did for HD almost a decade ago: introduce affordable capture of the latest high-res format […]
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Test Footage and Drawbacks of the Blackmagic Pocket Cinema Camera
Many pundits predicted a serious shakeup when Blackmagic announced their new Pocket Cinema Camera back at NAB in April. Priced at just $995, the Super 16 handheld, complete with 13 stops of dynamic range, seem poised to encroach upon DSLR’s steadfast popularity. As the camera underwent initial shipments in August, homegrown test footage began popping up here and there. Dan Chung, co-editor of News Shooter, recently took his BMPCC out for a spin in the Sanlitun area of Beijing — at night. The experiment yielded mixed results. Armed with a Voigtlander 17.5 mm f0.95 lens to maximize light on the […]
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Four Lessons in Cinematography from Nestor Almendros
Nestor Almendros has quite the filmography: most of Eric Rohmer’s films, a good amount of Francois Truffaut’s, Kramer vs. Kramer, Sophie’s Choice, and Days of Heaven (often considered one of the most beautiful films ever made). No big deal. You’d think that a cinematographer of his pedigree would be technically proficient and incredibly exacting in his approach. This couldn’t be less true. His approach to cinematography was incredibly intuitive. Directors and cinematographers alike could learn a lot from Almendros’ process, particularly when working on lower budgets and tighter schedules. Lighting Must Be Justified. Almendros believed that lighting exists for the actors, […]
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A Digital Camera Built Like a Film Camera: The Black Betty
The Black Betty is a custom made camera that is quite simple in nature: an SI-2K Mini and a Mac Mini housed in one unit. What separates this from rest of the digital cinema crowd is its form factor: it’s actually built like a film camera. As technology progresses, things get smaller. We now have cameras like the Blackmagic Pocket Cinema Camera that shoots RAW video (soon, currently only ProRes) and is no bigger than a point-and-shoot — all for $1000. This is awesome. However, the issue is that filmmakers don’t seem to take advantage of the small form factor […]
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“In the Same Way Painters Used Their Paint…”: D.P. Bradford Young on Ain’t Them Bodies Saints and Mother of George
In just a few years, Bradford Young has emerged as one of the most auspicious and distinctive cinematographers in American independent film. First noticed in 2011 for his work on Andrew Dosunmu’s Restless City and Dee Rees’ Pariah, he was profiled by the New York Times the following year for his subtle, carefully framed cinematography on Ava DuVernay’s Middle of Nowhere. In just the past year, Young confirmed his early promise with two sumptuous and yet highly disparate visions: for David Lowery’s Texas-set period film Ain’t Them Bodies Saints (opening this week) and Dosunmu’s Brooklyn-based contemporary drama Mother of George […]
