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Added by Sarv Kreindler--Creative Planet Network, 03/17/14 05:03:21 PM

Sony F55 Captures Extreme Skiing on Commercial Shoot

DP Tom Swindell writes about using the Sony F55 to capture extreme skiing for both a G-Shock Aviator Watches commercial and a piece documenting the behind-the-scenes action of the shoot. He writes, "Shooting in such bright environments like the snow covered mountains, over exposure would normally be a concern, but using the S-log and the accurate Peaking function the F55 gave me confidence and control." Read the full story here on Sony's site.    

Added by Sarv Kreindler--Creative Planet Network, 03/17/14 04:03:46 PM

Sony F55 Offers Documentarians Simultaneous 4K and HD Recording

In a new video on Sony's site, producer Olivier Chiabodo and cameraman Laurent Célarié explain why using the Sony F55 to shoot a documentary project was beneficial because it meant having access to sumultaneous 4K and HD footage. Says Célarié, "We used the F55 for several reasons. The first reason, it is possible to shoot in two formats simultaneously, recording both heritage shots and fast news clips for quick viewing." See it here.

Added by Sarv Kreindler--Creative Planet Network, 03/17/14 03:03:01 PM

SNL Director of Photography to Speak at Discovery Center

Saturday Night Live’s director of photography, Alex Buono, will be speaking live at the Discovery Center in Milwaukee on Tuesday, March 25.

Added by Sarv Kreindler--Creative Planet Network, 03/17/14 02:03:56 PM

Filming the Underwater Scenes of 'Under the Skin'

MovieScope talks to cinematographer Mark Silk who is responsible for filming the underwater scenes of Jonathan Glazer's Under the Skin, as well as underwater work in films like Stardust, Layer Cake and Son of Rambow--all at Underwater Studios in Essex, U.K. Says Silk, "There’s no geography under water, so you can get away with a lot of things you wouldn’t be able to do on land...You develop an eye from experience. I don’t think I’ve got a natural eye for what will or won’t work, but I have a trained eye. If the sea is oily calm, you know that some shots looking over the surface are going to look beautiful. You learn how to capture the sea as an icy, silvery mass. You wouldn’t find that shot on a storyboard.” Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 03/17/14 11:03:59 AM

'Need for Speed' Puts Audiences in the Driver's Seat with Old-Fashioned Stunt Filmmaking

Stuntman-turned-director Scott Waugh felt very passionate about making Need for Speed a visceral experience that eschewed CGI for good, old-fashioned stunt driving. To create the sensation of being in the driver's seat, the director relied on highly-choreographed, multi-cam sequences. "I want the audience to be inside the wreck and participate in it, rather than just sitting outside watching it," he tells Los Angeles Times. "That's kind of my signature." Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 03/17/14 11:03:53 AM

Nurturing Curiosity as a Cinematographer

Director of photography John Brawley shares his belated New Year's resolution on his blog: to be more curious as a cinematographer. He writes, "Curiosity is...a driver of both creativity and storytelling itself…To discover 'what happens next' is one of the basic tenants of storytelling. It’s what causes us to 'lean into' a story….once we’re fed a little information, we all can make connections and assumptions about what may happen next. And we need to know what happens next. We also like to be surprised." Read his full post here.

Added by Sarv Kreindler--Creative Planet Network, 03/14/14 02:03:21 PM

Behind the Scenes of Conan's 'Walking Dead' Parody Sketch

No Film School talks to cinematographer Dylan Sanford, who shot the recent Conan opening sketch which parodied The Walking Dead by perfectly emulating its style. Explains Sanford, "I’m a fan of The Walking Dead so I had the look in my vocabulary from the start. From my point of view, that show feels like the south to me. Highlights are all a bit sunbleached, greens are lush vibrant, interiors utilize a fair amount of atmosphere while building in contrast with the lighting. There’s strong warm or neutral large-source backlight, generally coming in from low, with a cooler fill. In addition to that, the camera is almost always in motion, but rarely handheld. They use a lot of dolly, steadicam and crane." Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 03/14/14 02:03:26 PM

Behind the Camera Choices of 'Need for Speed'

In a detailed blog post, cinematographer Shane Hurlbut breaks down why he chose four different camera sensors for Need for Speed, and what made him choose each one. He writes, "Each camera delivered a unique look. It was my job to morph these into one consistent image, one that transports you into a contemporary race culture with an homage to the classic films like Bullitt and Road Warrior. I had to make it feel like one camera system, one brush but shot with four." Read the full story here.

Added by Sarv Kreindler--Creative Planet Network, 03/14/14 01:03:59 PM

Director Uses MoVI to Create Low-Budget Multi-Cam Rig

In a guest post on NoFilmSchool, director Rubidium Wu explains how he used the MoVI 10, a Blackmagic Cinema Camera and a Canon 5D Mark III to create a low-budget rig that allows for shooting two angles at the same time. He writes, "A few months ago I was putting together a budget for a million dollar ‘low budget’ feature film and something struck me. Some of the numbers were big. Really big. This got me thinking: is all this stuff really necessary to make a good film?" Read the full post here and see his camera test below.

Added by Sarv Kreindler--Creative Planet Network, 03/13/14 11:03:37 AM

Side-by-Side Comparison of the Blackmagic Production Camera 4K and Canon 1DC

The below short video from James Miller features a side-by-side comparison of the Blackmagic Production Camera 4K and the Canon 1DC. The Blackmagic footage is on the left of the frame while the Canon footage is on the right. Both cameras were set to ISO 400. The BMPC4K was shot in film mode, while the 1DC was shot in Canon Log. They were color graded to match. 4k Blackmagic Production Camera - London, Side by Side 1DC from James Miller on Vimeo.