Columns
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“My Handiest Trick is to Watch as Many Previous Episodes as You Can — With the Sound Off”: Mary Lou Belli on Directing NCIS: New Orleans
I’ve written elsewhere about my admiration for the filmmaking on NCIS: New Orleans, a procedural that channels the spirit of Rio Bravo-era Howard Hawks to combine laid-back charm and camaraderie with kinetic, expertly choreographed action sequences. Under the guidance of producing director James Hayman, whose “Aftershocks” episode from season three is a clinic in Hitchcockian suspense, NCIS: New Orleans has assembled one of the best rotating companies of directors in episodic television: James Whitmore, Jr., Stacey K. Black, Rob Greenlea, and Bethany Rooney are just some of the superb helmers who have done fine work on the series over the […]
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Shooting From Dock to Dish with the New Canon C200
For the launch of the C200, Canon hired producer Andrew Fried of Boardwalk Pictures to create a short introduction video, From Dock to Dish. Boardwalk Pictures specializes in nonfiction programming, most notably producing the Chef’s Table series for Netflix. The team, including DP Bryant Fisher, shot From Dock To Dish over the course of two days using pre-production units loaned from Canon. In this interview producer Fried and DP Fisher talk about the camera and their experience shooting the video. Filmmaker: How did you become involved in this project? Fried: Canon approached me to see if I had any ideas for a short […]
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DP Andrew Droz Palermo on A Ghost Story, Shooting 1.33 and That Pie Shot
The polarity between director David Lowery’s $65 million Disney film Pete’s Dragon and the micro-budgeted A Ghost Story has been noted repeatedly in reviews and profiles. But the man behind the camera on A Ghost Story has a unique career trajectory of his own. Cinematographer Andrew Droz Palermo made his feature debut with Adam Wingard’s tone-mashing home invasion horror flick You’re Next in 2011. He followed that by co-directing a documentary (Rich Hill, an affecting character study of Missouri teens living in poverty) and a narrative feature (One and Two). Palermo is back in director of photography mode on A […]
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“Every So Often a Train Would Come Rumbling By and the Set Would Shake”: DP Doug Emmett on Shooting HBO’s Room 104
An octogenarian couple returns to the hotel room where they spent their first night together — it’s a logline that would typically preface an elegiac rumination on love and mortality. But by the time that set-up arrives in the season finale of HBO’s new anthology series Rooms 104, it seems just as likely to give way to horror or violence…or interpretive dance. That’s the joy of the newest Duplass Brothers creation — each episode begins as a blank slate capable of unexpectedly evolving into any genre or tone. The 12-episode series — which debuted last Friday night — unfolds entirely […]
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“Was Everything in Focus?”: Wonder Woman DP Matthew Jensen on Shooting 35 and Digital and How Tequila Sunrise Inspired His Career
I have to admit I can no longer distinguish 35mm film from high end digital cameras when I go to the movies. I can spot 16mm or anamorphic lenses, but the line between digital and 35mm celluloid has become impossibly blurred. Wonder Woman cinematographer Matthew Jensen can still spot the subtleties, but for Jensen the aesthetics of film are only one of the reasons he enjoys working in that format. “It’s very hard to tell the difference, especially when you’ve gone through a DI (digital intermediate) process and you’re projecting digitally. We have some shots that are digital in Wonder […]
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“What’s Pushback and What’s Just Conversation”: Director Gabriella Moses Navigates a “Potluck of Racial Identity”
When she was growing up in Virginia Beach, Gabriella Moses was often confused for her best friend. Brown-skinned with glasses, both girls stuck out at their predominately white Catholic school, but Moses didn’t think she looked anything like her Filipina friend. When she distinguished herself as half-Guyanese, her peers hadn’t heard of the small South American country. She didn’t quite fit in at hair salons with her Dominican mom either since she didn’t speak the language. These days in New York, she’s sometimes greeted in Spanish. Others guess she’s African American. Some say bi-racial. “People want so hard to classify,” […]
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Notes on Bad Documentaries (Or, Can a Documentary Be So Bad It’s Good?)
Let’s talk about bad documentaries. I don’t mean mediocre or boring documentaries; I mean documentaries so bad that viewers say, “That’s not even a documentary!” I mean the kind of badness so bad as to be ontologically bad. Of course, this sort of ontological badness can be both intentional and unintentional. The intentionally bad dare you to ask whether they are really documentaries. They are bad like Michael Jackson — transgressive and provocative. Or, they’re bad like “bad feminist” Roxane Gay — contradictory and purposefully uncertain. This type of badness is an impossibly broad category, but I am thinking, for […]
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DP Henry Braham on Shooting Guardians of the Galaxy Vol. 2 with the First Weapon 8K Vista Vision Full Frame Camera
Compared to the rest of the Marvel Cinematic Universe, with its squeaky clean Captain America and solemn United Nations accords, the Guardians of the Galaxy — a rogues’ gallery of smugglers, thieves and assassins — are outliers. Yes, by the end of Guardians Vol. 2 the titular team are two-time galaxy savers. But for Rocket, the genetically enhanced trash panda voiced by Bradley Cooper, that just means they can jack up their rates. Guardians’ departure from the status quo of Marvel’s ever-bloating Avengers coalition – which they will no doubt eventually be subsumed by – extends to behind the camera as […]
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Panasonic Announces a Sub $10,000 Large Sensor, Inter-Changeable Lens Camera – the AU-EVA1
At NAB Panasonic hinted at a camera that would fit between the GH5 and their Varicam models, and now they’ve announced the AU-EVA1, which will ship in the fall. Back in 2010 Panasonic was one of the first companies to release a sub-$10,000 “large-sensor” video camera with interchangeable lenses. Remember that Canon had only released the 5D Mark II in late 2008 and had — much to their surprise — unleashed HD video with large-sensor cameras. Above I put the large-sensor in quotes because Panasonic’s AG-AF100 used the micro 4/3 lens mount. This gave you a larger sensor than you […]
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Canon Surprises With the C200
It’s been two years since Canon announced the Canon C300 Mk II and C100 Mk II, and now, with the announcement of the C200, the company has produced an interesting 4K camera that sort of fits between the two models while at the same time offering new features not currently offered on either of them. First, the price. Canon is offering two models; a body only (B) model that will cost about $5,999 and a more complete version with handle, LCD mount and LCD monitor for $7,499. This is a notable departure from the C100/C300, which are currently only sold with […]
