Wiseman may be best known as a pioneer of the cinema vérité school of documentary, which minimizes the director’s presence, but here, he comes close to Busby Berkeley territory, as he acknowledges in the following interview. Working for the first time in HD, he shows new possibilities in the medium, asCrazy Horse matches the color and beauty of 35mm.... »
Lynne Ramsay’s We Need to Talk About Kevin is an unconventional look at American violence. The first 20 minutes of the film are a radically nightmarish montage. While the rest of We Need to Talk About Kevin is somewhat more conventional, it never loses its dreamlike feel, enhanced by a combination of 35mm and Canon 5D Mark II DSLR video.... »
The early collaborations between cinematographer Tim Orr and director David Gordon Green were poetic, independent dramas with minimal budgets. More recently, they've made a successful string of studio comedies. "We try to have fun with it while breaking conventions," Orr says.... »
Cinematographer Justin Talley took a wait and see approach to his job on the forthcoming indie film Somewhere Slow, now in production, finally settling on the attractively priced Sony NEX-FS100 as the best combination of performance and ergonomics for the film's needs.... »
“We saw it partly as an opportunity to pay homage to the films of John Ford,” says cinematographer Matty Libatique, ASC. “We wanted to create a disciplined Western language, guided by imagery like Conrad Hall’s work on The Professionals and Butch Cassidy and the Sundance Kid. Our study of the form grew out of our enthusiasm for the films, and it turned out to be one of the best parts about this project.”... »
One of the things you notice about the languid, mysterious Mary Marie — part sisterly coming-of-age film, part erotic drama — is how the sequences of gorgeously colored and composed images bring to mind a carefully curated photography exhibit. They also convey a pointed intimacy that gives the film its urgency. Film & Video interviewed DP Magela Crosignani about the challenge.... »
Ubiquity Broadcasting, based in San Juan Capistrano, CA, is dedicated to platform- and screen-independent content creation. That means that when the company captures action-sports footage, it's meant to appear in a variety of different venues, whether it's streamed live to your iPhone or iPad or rebroadcast in a digital auditoriums at your local multiplex.... »
The script for Hop required roughly 20 percent of the scenes to be completely computer generated, but the vast majority combine live-action elements with actors, actual environments, and CGI characters. Among the many puzzles that had to be solved by director Tim Hill and cinematographer Peter Lyons Collister, ASC? Eyelines.... »
If you want big branding, you want to see your spot on the big screen. And if you really want to make an impression, you want that spot to show in stereo 3D in front of 3D movies. The BMW-owned Mini brand employed that strategy for a large-scale cinema spot using ultra-high-speed footage to show a heavy monster truck gliding through the air above one each of the four different cars in Mini's product line. Mini says it took a crew of 120, including the stunt driver, to make the shoot happen. That figure includes stereo-3D experts Joshua Ferrazzano and David Shafei, whose World War Seven production company was brought in to figure out how to make stereo 3D happen on time and on budget. We talked to them about prepping for the day, shooting with Phantoms and Reds, and monitoring super-slow-motion footage in stereo.... »
Most of the images were captured in Super 35, many effects plates were captured on 65mm, and numerous flashback scenes were lent a haunting, abstract quality through the use of cross-processed Super 16 reversal film.... »
