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Added by Sarv Kreindler--Creative Planet Network, 04/06/14 09:04:10 PM

An In-Depth Look at Wes Anderson's Style

Professor of Film Studies at University of Wisconsin-Madison David Bordwell takes an in-depth look at the framing and composition that make Wes Anderson's style unique to him. He says of what he calls a planimetric style, "The key idea is that the people and the setting aren’t observed from an oblique angle; if the background is perpendicular, the people will stand or sit at 90 or 180 degrees to that...Anderson is today the most widely visible example of the style, partly because while others use it sporadically, he is single-minded about it. He has made people shot-conscious (at least when they watch his movies). So after seeing his newest film, I thought it would be fun to think about what distinguishes his approach."

Added by Sarv Kreindler--Creative Planet Network, 04/06/14 07:04:51 PM

HFR and Second Screen discussed at NAB Show's Technology Summit on Cinema

Panelists at NAB Show's Technology Summit on Cinema discussed the future of movie theaters with technology ranging from high frame rate, to IMAX, to second screen. Howard Lukk, VP of production technology at Walt Disney Studios. said, "We’re playing around with everything. We are asking if it will push the story. That is the question we start with. Film is coming to the end of its life. We're going to have high dynamic range, high frame rates … as a filmmaker, just think of the possibilities." Read the full story here on The Hollywood Reporter.

Added by Sarv Kreindler--Creative Planet Network, 04/06/14 07:04:43 PM

DP Chris Manley Talks His Work on 'Mad Men'

In the latest Go Creative podcast, Ben Consoli talks to Mad Men director of photography Chris Manley about his work on the hit show and his career shooting for the likes of Revenge, Homeland and more. Listen to it here.

Added by Sarv Kreindler--Creative Planet Network, 04/03/14 03:04:36 PM

Hands-On with the ARRI Amira

Cinematographer Justin Aguirre writes about his experience getting hands-on with the new ARRI Amira.

Added by Sarv Kreindler--Creative Planet Network, 04/03/14 11:04:39 AM

Disney to Show Off Short Film at NAB Show Made with Innovative Trifocal Camera System

Disney will be showing off an unfinished short film called "Make Believe" at NAB Show, that was captured with the innovative new trifocal camera system developed by Fraunhofer and ARRI. Howard Lukk, Disney's VP of production technology and the film's director, told The Hollywood Reporter, "I see this system as a baby step toward computational cinematography by using multiple camera arrays to capture images. We can do 3D, high frame rates and high dynamic range." Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 04/02/14 05:04:06 PM

Inside the Covert Tactics of Shooting 'Under the Skin'

Indiewire talks to Under the Skin cinematographer Daniel Landin about how he shot the covert film, which involved a proprietary camera developed just for the shoot. Says Landin, "Preceding the shoot, we explored the possibility of using very small cameras. What was available to us was either not small enough or not good quality enough. As a result, we ended up developing our own camera which enabled us to record very high quality raw data on a very small camera. Initially, that took the form of putting Scarlett inside the van which she drives with 8 cameras hidden within that van. So she could drive into any situation without it appearing that there was any kind of filming process going on." Read the full story here.  

Added by Sarv Kreindler--Creative Planet Network, 04/02/14 03:04:20 PM

Comparing Canon's Cinema EOS Cameras

Pete Bauer of DV Info compares and contrasts the cameras in Canon's Cinema EOS line-up. He writes, "Last autumn and winter I had the opportunity to shoot with both the Canon C100 and 300 cameras. Not surprisingly, I now want to join the ranks of Cinema EOS owners. So which model should I buy? It turned out that the decision wasn’t as straightforward as I’d initially thought it would be. Sort of like deciding on cake, pie, or ice cream for dessert – hey, I’d have ‘em all if I could. Yet, alas no, reality dictates that I pick just one for now. Should I get the 1D C to cover both still shots and up to 4K in-camera, or the very affordable and easy to use C100? Should I step up to the C300 so I can plug into multi-cam shoots, or really go for it with the C500 to get up to 120fps HD, not to mention 4k? It took some study and thought to sort through the details."

Added by Sarv Kreindler--Creative Planet Network, 04/02/14 02:04:39 PM

What Is Sensor Color Balance?

Cinematographer Art Adams explains what native color balance in digital cameras really means.

Added by Sarv Kreindler--Creative Planet Network, 04/02/14 01:04:14 PM

Frameless Filming: The Challenges of Creating a 360-Degree Movie

Boston Productions' Mike Sullivan writes an essay on CreativeCOW detailing what it was like to create a 360-degree film for the Civil War Museum in Kenosha, WI. He writes, "If the audience can look anywhere, how do we force them to see what we want them to see? Can an audience follow a narrative this way? How do you tell a story visually without a frame? There was a time when I did not know the answers to these questions. That time has passed." Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 04/02/14 12:04:22 PM

Watch a Supercut Celebrating the Best of Today's Cinematographers

Erick Lee's "Ode to (21st Century) Cinematographers" is a supercut featuring the work of some of the past decade's most respected directors of photography, including Christopher Doyle, John Toll, Wally Pfister, Roger Deakins, Anthony Dod Mantle, Emmanuel Lubezki, Bruno Delbonnel, Claudio Miranda, Janusz Kaminski, Matthew Libatique, Bill Pope, Rodrigo Prieto, Seamus McGarvey, Shane Hurlbut and more. Writes Lee on his Vimeo page, "Due to not only wanting to keep a consistent look, but to also respect the cinematographers' work by not re-cropping 16x9 media, I only used movies that were shot around a 2.40:1 aspect ratio. As you can imagine, this not only limited what I was able to use, but also prevented me from using some of my favorite display of cinematography." Watch below.