Kodak
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DP Sean Price Williams on Shooting 2-Perf 35mm for the Cannes Competition Film Good Time
“Hey, it’s me,” said Sean Price Williams as he walked up to me at the after-party for Josh and Benny Safdie’s simply fantastic Good Time in Cannes last week. It did take me a second to recognize Williams — cleanly shaven, in a spiffy tux and strolling around a Dior-sponsored event for a film in the Main Competition of the Cannes Film Festival. If Williams seemed like a bit of a happy anomaly there, it’s because, like Good Time itself, the DP has ascended to cinema’s most revered platform with work that’s wholly of a piece with the raw, street-level […]
by Scott Macaulay on May 30, 2017 -
Shooting Film Against the Digital Wave: DP Paul Cameron on Westworld
Considering cinematographer Paul Cameron is responsible for a portion of the seminal digital photography in Michael Mann’s Collateral, one might assume Cameron is a proselytizer of the digital revolution. Not so — Cameron remains an ardent devotee of celluloid, extolling its virtues as an “elegant, eloquent” medium. With the blessing of series co-creator Jonathan Nolan, Cameron sped film through the gate on the HBO pilot for Westworld. An extension of Michael Crichton’s taut 1973 sci-fi thriller about an Old West theme park where “guests” indulge their baser desires through interactions with robot “hosts,” this new Westworld digs its spurs into […]
by Matt Mulcahey on Oct 3, 2016 -
Kodak and Kickstarter Launch Program for Indie Filmmakers to Shoot on Film
Despite outliers such as Alex Ross Perry and Todd Haynes, the general consensus among independent filmmakers is that shooting on film is too expensive to be feasible. Over the past year, Kodak has been working to get the word out that shooting on film is a possibility – even for low-budget indies. Along with Kickstarter, the Eastman Kodak Company today announced a new initiative to support independent filmmakers who want to shoot on film. The program is open to cinematographers launching a Kickstarter campaign in order to bring their vision to life using 35mm or 16mm film. Four directors with upcoming Kickstarter campaigns […]
by Paula Bernstein on Apr 25, 2016 -
Shooting on Film? At IFP Screen Forward, Debating the Merits and Pitfalls in a Digital Age
In this era of digital projectors, ALEXA cameras and minimal, DSLR-enabled budgets, the art of loading rolls of film into a magazine and shooting with a 16 or 35mm lens is fast becoming a fading practice. And yet, there are those determined storytellers who dare to pull it off. But is shooting on film on a low budget even possible these days? A Wednesday morning panel at the IFP’s Screen Forward conference comprised of cinematographer Frank DeMarco (All is Lost, Margin Call), producer Adam Piotrowicz (Listen Up Phillip, Queen of Earth). cinematographer/producer/director/editor Ferne Pearlstein (Imelda) and director/producer Ari Taub (79 […]
by Anisha Jhaveri on Sep 24, 2015 -
Going Mobile: The Alpha1 Mobile Film Lab
In 1932, the Russian filmmaker Alexander Medvedkin convinced Soviet authorities to give him three decommissioned train carriages to turn into a mobile film studio. The “film-train” would travel across the USSR’s expanse, bringing with it 32 spots to sleep, six editing tables, a projection room and a film-processing lab. Equipped to handle all aspects of production and projection from beginning to end, the film train would record local issues and expose problems that the people would need to solve: in Medvedkin’s words, the portable facility would act as “a kind of special fire brigade to put out problem fires.” These […]
by Vadim Rizov on Jul 23, 2015 -
Kodak Cinema Tools, a Free App for Filmmakers
Kodak has updated their free iOS app Cinema Tools to add a simple Aspect Ratio feature. Using a default picture, or one loaded from your photo library, you can choose from 2-perf, 3-perf, 4-perf and 16mm motion picture film formats and then choose between 2.35:1, 1.85:1, 1.18:1 (16×9) or 1.33:1 (4×3) aspect ratios. The image is then cropped to display the results. Unfortunately, you can’t choose a focal length for the imaginary lens, so the tool is very limited. (For a better web-based example that covers digital cameras, check out AbelCine’s Field of View Comparator.) While several of the tools […]
by Michael Murie on Mar 11, 2013 -
Festival Cinematography Notes – At Sundance, Alexa Rising
The day Sundance began, Daily Variety’s lead article kicked off with: “In this brave new indie world of VOD, shifting release windows, RED cameras [italics mine] and social media marketing…” I was struck by how little any of this has to do with indie filmmaking alone. As a token of digital revolution, RED cameras are so five years ago. It’s hard to storm the ramparts when last year’s #5 and #7 box office hits were shot with RED Epics (The Hobbit: An Unexpected Journey, The Amazing Spider-Man). In fact, not only were last year’s #1 and #4 hits filmed with […]
by David Leitner on Feb 5, 2013 -
Zacuto’s DSLR Shootout
Zacuto, which rents HD cameras and DSLR camera accessories, gathered professional DPs and colorists for a “DSRL Shootout.” They compared the Canon 7D, 5D Mark 2, ID, the Panasonic GH1 and Nikon D3s and compared them to footage shot on Kodak and Fuji stock. The results were evaluated by a range of DPs, including indie cinematographers and ASC members, at AFI and Skywalker Ranch. The results are pretty astonishing. The first episode, a 35-minute piece in which all of these camera’s latitude are examined, is up but it’s not embeddable. See it at the link above. The trailer, however, is […]
by Scott Macaulay on Mar 25, 2010
