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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.

Added by Sarv Kreindler--Creative Planet Network, 04/02/14 12:04:16 PM

An Explanation of Dolby Vision

Dolby explains their new technology, Dolby Vision, and how it will improve brightness, contrast and color on television sets. They write on their blog, "Dolby Vision on your TV will mean images that are brighter, with better contrast and richer colors. The technology produces more vibrant, true-to-life images that are more like looking out a window than looking at an LCD screen." They are aiming for Dolby-enabled TVs by the end of this year. Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 03/31/14 03:03:29 PM

ARRI Rumored To Be Developing 6K Camera

Gearing up for competition with the likes of RED's Dragon and the Kinefinity KineRAW, ARRI is rumored to be developing a 6K camera of its own Writes Joe Marine of NoFilmSchool, "While the 6K market may start to get crowded over the next few years, what’s so special about that resolution? As an acquisition format, 6K gives you all sorts of options for better-looking 4K with the ability to reframe and stabilize. That’s why it comes as no surprise that ARRI looks to be developing their own 6K camera, but instead of squeezing those pixels onto a Super 35mm sensor like the RED DRAGON or the new Kinefinity 6K cameras are, the company is letting them breathe on a gigantic 65mm sensor."

Added by Sarv Kreindler--Creative Planet Network, 03/31/14 01:03:49 PM

'Transcendence' Releases Two Viral Videos

Ahead of its April 17th release, Wally Pfister's sci-fi film Transcendence has released two shaky viral videos about the work of R.I.F.T., the fictional anti-tech group at the heart of the movie. Watch them below.

Added by Sarv Kreindler--Creative Planet Network, 03/28/14 03:03:14 PM

Get Insight into the Work of Cinematographer Christopher Doyle with Hourlong Documentary

The hourlong documentary "In the Mood for Doyle" examines the singular work of Australian-born, Hong Kong-based cinematographer Christopher Doyle, well-known for his work with Wong Kar Wai (In the Mood for Love).

Added by Sarv Kreindler--Creative Planet Network, 03/28/14 12:03:05 PM

Does Wraparound Projection Technology Take Away from a Film's Storytelling?

This week at CinemaCon, Barco revealed a wraparound projection system called Escape which allows filmmakers to project footage on the side walls of a movie theater--in theory, making for a more immersive experience. But filmmaker Stu Maschwitz, for one, is not convinced. He writes on his Prolost blog, "An event happening in a room is reality. When you put a box around it, it becomes storytelling. The conceit of the frame is what makes cinema possible. Yes, it makes composition possible—a pleasing arrangement within the frame, but more importantly, it makes a cinematic voice possible. Removing the “limitation” of the frame is actually removing the storyteller’s most important tool—the ability to show us exactly and only what matters. The ability to tell the story, rather than merely present it."