VITTORIO STORARO, ASC, AIC, PAINTS A MULTI-HUED PORTRAIT OF DAYS GONE BY. THE GREATEST SHOWMAN SEAMUS MCGARVEY, ASC, BSC, AND AN ACROBATIC GUILD CAMERA TEAM REACH FOR THE STARS. Local , International Cinematographers Guild, retains all ancillary and expressed rights of content. AVENGERS: INFINITY WAR MARVEL’S TWO-PART WRAP-UP TO THE AVENGERS SAGA COMMENCES WITH INFINITY WAR. Steven Poster, ASC National President International Cinematographers Guild IATSE Local Local , International Cinematographers Guild, retains all ancillary and expressed. ICG Magazine has been the world's premier cinematography publication since Published monthly by the International Cinematographers Guild, its core.
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print outlet, ademtyssare.ga is fast becoming the entertainment industry's . ICG Magazine ONLY accepts high resolution, print ready PDF or. TIFF files, unless. The mission of ICG Magazine is to create a greater awareness of the art and craft of .. ICG Magazine ONLY accepts high resolution, print ready PDF or. CBS TV's reboot of the classic s crime series Magnum P.I. provides plenty of thrills, chills (in the water) and near-spills for its Hawaii-based Guild camera.
As the camera tracks with Ruth, it reveals only to the audience that an intruder is. Currently streaming on Netflix, the shot can be seen near the one-hour-sevenminute mark. Blair says he and Seiple got excited about relying on the longest takes possible. A remote camera head was one possibility, if not for the limited two-million-dollar range of the budget.
First assistant camera Matt Sanderson. The dolly move is only about four feet, but the slow creep adds growing suspense. Digital Imaging Technician Matthew Conrad says the soft edge sharpness on the Baltars is more noticeable in tight spaces with geometric shapes i. CREW Cinematographer: Larkin Seiple Camera Operator: Jonathan Dec 1st AC: Matthew Sanderson 2nd AC: Steven Riddle DIT: Matt Conrad Steadicam Operator: Danielle C.
Peggy Knoebel Still Photography: Allyson Riggs. Dec says he appreciated how long Blair would choose to hold on a shot. The LUT Conrad made for this project minimizes saturation, lowers contrast, and saves highlights. The tension it builds scratches around your comfort zone, and it is only on closer examination that we realize what effort went into heightening our unease and building our empathetic attachment. Then they open-sourced the results for everyone.
When cinematographers are considering anamorphic capture, and want to test lenses, the process can be a deluge of informationgathering. Is there time to test multiple brands of lenses?
Is the information drawn from the Internet accurate? The goal? To gather as much information as possible to create a single reference point. Factors such as the camera, lighting, scaling, post-processing, upload compression, monitor calibration and more mean every individual test is going to provide a different result. Too much distortion? Too much glare? Is the flare pleasant or too distracting? That meant using the same model, lighting, camera, location, etc.
Back light was a watt Chimera.
Because of that, it was crucial that we test each lens at several T-stops. Most were done at 3 or as many as a 4 T-stops per lens! Only the slowest lenses were tested at fewer than 3. We would have tested them at every stop, but we did not have the time or the budget to be able to light the set to shoot at T5. ShareGrid compiled a sample video and met with Fraser.
This will give me more time to refine my limited camera test time to finesse the details, rather than spend the time on the bigger picture. Viewers can compare four different brands, or four focal lengths within one brand or one lens at four different T-stops. U-Crane and Flight Head Mini 4 is the newest telescopic camera system in our arsenal of solutions. Another film industry innovation that shows we are listening.
His subsequent indie features, The Brothers Bloom ICG, January and Looper , built upon and raised the bar for a unique cinematic grammar, which is laced with equal parts narrative irony and visual poetry. Through it all Johnson has had two constants to prepare him for the mother of all directing assignments — he writes his own material as he did for The Last Jedi , and his films are all shot by Steve Yedlin, ASC, a cinematographer and color-science whiz he met as a film student.
Drawing from his years of creative risktaking in the indie world and a little help from ILM , Johnson is the right guy, at the right time, to drive the Star Wars franchise into uncharted galaxies. I remember talking to you and Steve Yedlin after Brick premiered at Sundance, in Even as first-time independents, you had a special connection. Rian Johnson: Wow, it gives you vertigo to start counting the years up, right?
Steve went on to shoot all your movies, including The Last Jedi. I was a freshman at USC and Steve was a senior still in high school when we met.
As a freshman, you go to the bulletin board at USC to see what student films need volunteers, to get any experience you can. Steve was running the camera department on this student film, and I was so entirely useless that when they ran out of sandbags, they would have me, literally, sit on the C-stands! Steve took pity on me; he showed me how to load the camera. We started showing each other the short films we had made in high school and became fast friends.
Cut to: The Last Jedi — a perfectly natural transition. Looper, made five years ago, was a cerebral kind of action film. Five years is a lifetime in digital effects. How did that experience prepare you for The Last Jedi? Looper was certainly the first time I dealt with any volume of VFX, even though it was nothing. But the preparation was really not so much about being comfortable with a big VFX movie, and all the tools that go along with that.
It was really about the best way to communicate what the scene needs to actors, department heads, and other creative partners, like Steve and [Production Designer] Rick [Heinrichs]. This is our Indie Issue, and one reason Star Wars is on the cover is the experience you and Steve bring as independent filmmakers.
Can you make a Rian Johnson film when Star Wars is in the title? So, when I turned in the first draft of my script, I held my breath. Because you thought it was too Rian Johnson? But, in fact, the stuff that was more out there or challenging was what they were most excited about. They actually became co-conspirators in terms of breaking ground and taking these characters that were set up so well in The Force Awakens to a new place. How do you work with Steve on set, including how you made this film?
When I come on set I will do a lens on a stick and compose, very precisely, the shot and the movement I want. Steve and I will talk those through, and he may have suggestions or changes. And then Steve will start lighting. Lighting to me is magic, and, honestly, I could not do what Steve does — translate ideas into actual selection and placements of lighting units — if you put a gun to my head.
A big part of our collaboration happens in prep — designing the sets around the lighting and the look and feel of each scene. Steve Yedlin is known as a real colorscience geek. He can go on and on. Steve loves to dig in, and know, on an incredibly granular level, how color works, specifically how it relates to image capture. As the director of a Star Wars film, there is a huge machinery in place, of course. Did you seek out any advice before you took on the project?
Chris was basically telling me not to fear this dragon — the studio system — that was inside the cave. I was an independent filmmaker with an independent voice and things would still turn out okay.
And as The Last Jedi proves, they really did. Speaking of Chris Nolan, you and Steve Yedlin have only shot film together. Why the combination? As you mentioned about Steve and color science, he had it so dialed-in that when he showed me how we could match — not only scene-to-scene, but shot-to-shot — the film to the ALEXA footage, I felt [a bit] more comfortable. The default was basically film, and where digital made sense, Steve would approach me, and eventually I would come around.
There were also examples of scenes shot entirely on film, and the one Steadicam move in the scene would be with the ALEXA Mini, and it would match perfectly. Forty years is a long time for a movie franchise to remain so firmly rooted in the public consciousness. Did you reference or emulate anything from the original trilogy, directly or indirectly? The movie we looked to, visually, was The Empire Strikes Back.
But even as we looked at and were inspired by Empire, we also decided, early on, not to try to imitate that film, particularly with lighting, and camera, or, for that matter, anything else in. You would be hard-pressed to point to something else that has stuck around so long and retained the cultural power of Star Wars — arguably, now more than ever, which is nuts!
At the end of the day, you try to make a movie that excites you personally, and, hopefully, makes you feel how you felt when you saw Star Wars as a kid. Then you put it out there and hold your breath. So it was a…conversation?
But the fact that both of them, at the end of the day, trusted me to make decisions about these characters that have meant so much to them, was, I guess you could say…fortifying.
Storytelling is as much of an art form as it is a science. Whatever the medium, sound or picture, you will uncover countless ways to elevate the impact of your story on any screen.
He trusts me to take his conceptual ideas and bring them to life in the details. The entire background is filled with a deeply saturated red light, providing a stark and unsettling contrast to the foreground.
Film and digital elements were brought in to a show-specific neutral space using LUTs designed by Yedlin and then, from the neutral space, all footage received a single show LUT, which emulated the look of traditionally contact-printed film.
On Jedi, the neutral space LUTs brought the various cameras together, and then. The cinematographer lit the movie to his global show LUT much like a traditional combo of camera negative and print stock. It was all there from the beginning.
I showed him some of my previous work [with Framestore], with the goal of showing how an effective mix of practical and digital effects can keep the audience guessing. That helps ground the shot and make the VFX seamless.
Rian, Steve and I lobbied to capture as much as possible on location. Luke and R2-D2 in the foreground. The temple is where Luke had trained a new generation of Jedi, including his own nephew, Ben Solo, who would later become a Dark Side leader with followers named the Knights of Ren.
Morris says the striking night shot was done on a sound stage with foreground elements lensed against blue screen, and embers and wind machines provided for foreground texture. Age of Ultron, Guardians of the Galaxy. The larger the array, the harder the attack, the faster the oscillation and the wider the contrast range required of each individual luminaire in order for the combined effect to feel right. Yedlin and Smith created a hemispheric dome — horizontal degrees by vertical degrees — filled with ARRI.
LED SkyPanels that were all controlled through pixel mapping. But we felt that was limiting for multiple reasons: Unlike our agile method that uses motion-picture luminaires, that LED-video-screen method makes it slow or impossible to change the colors or the timing of the scene quickly on set.
But in a movie you want to enhance the dramatic effect. Our SkyPanel dome allowed for highly flexible and interactive variations of color and intensity. The interaction of the light on Kylo is what helps to blend the physical sets into the CG world around them. It was a huge key in making these worlds feel real. There was always an idea behind the lighting, which is very much what Rian Johnson is all about. One of many examples would be the scene with Leia and Han in the hallway [on Hoth], where their faces are completely dark.
We accounted for that in the architecture of our sets — which would often include frosted Plexiglass — and that allowed Steve to manipulate light seen in the frame. We developed color correction. But with that in mind, any other lights we added needed gels to invert that correction.
Then we applied that package to all the lights that played in the sequence. The end result was an environment that commits fully to these two types of practicals but that is grounded in reality. Then we shot the wide of Rey that looks toward the water. Back on stage for the reverse coverage, we matched all of our ratios using a large overhead Flobank array and shaping with a by soft box with Skypanels.
We worked with what nature gave us and then used our resources to build out the sequence back on stage. But it all began with real natural light. While the movie was primarily shot in anamorphic, using.
We also sometimes used spherical simply because VFX requested it: The most amazing thing I can offer from this experience is that the movie Rian told me about — two years before we started shooting The Last Jedi — is the one everyone will see up on the screen. A failed actress, Ginny tries to put her life back into a different kind of spotlight, embarking on an affair with Mickey Justin Timberlake , a lifeguard with literary aspirations.
So that was the time for me to jump into this new way to record images, and perhaps find ways of improvement. Humans began expressing themselves on walls of caves, then on wood, photography in monochrome, then color and now digital.
And both Woody and site approved of this, so we continued this approach on Wonder Wheel. His use of color is not so much a matter of experimentation as an outgrowth of his diligence on studying [the impact and effects of color].
Then, when you go inside their home and meet the family, we discover the complexity of the various characters, and how it is much more than just the American dream. Various sizes of Chromakey green screens were also used on location when shots wound past the period aspects of the locale. For scenes on the beach, Key Grip William.
Weberg set up foot-byfoot and foot-byfoot natural muslin frames to create a warm bounce of sand-toned hues. To accommodate high angles of Timberlake in the lifeguard tower, a Technocrane 15 with stabilized Libra head was employed.
It was a tremendous education into his thought processes, but just as importantly, it showed his commitment to including all of us in his vision. Sometimes it is used to foreshadow action or a character joining the frame.
He will have a diagram of his setup on one side of the page, with a color idea on the other. That was mainly artwork or photography, both for color and composition. My part in his color treatment was maintaining the strong warm and cool primary tones. That contrasts with Carolina and light blue — the symbology of the future. Ginny was very much about sunset, while. I made a kind of confrontation with these colors, a complementary arrangement.
As for framing and camera movement, Storaro has equally strong notions about the respect for human visual perception. For example, we never used Steadicam just for geography of movement, but instead for a certain visual language that defines the character of action, in this case for Ginny alone, who is very strong and free in her movements.
The dolly grip is so critical to the operator; Tony Campenni did a great job. Watching Vittorio at his dimmer board is like seeing a puppeteer of light. You need a light touch when adjusting the iris during the shot. If you change too quickly, the adjustment will be visible, but if you do it right, it is magically invisible.
VFX vendor Brainstorm Digital about his color scheme, emphasizing the importance of maintaining color distinctions between particular times of the day. That would ensure a precise match in visual tonalities for what was seen outside the windows of the family home. Extensive use of windows was the norm, even for the smallest background elements. In the lab and any of the best screening rooms around the world, I can see 4K, but only in bit color,.
So where are all those other shades? When we pass from the master at Technicolor to the DCP, it is usually only a bit image, rarely bit, so audiences see a portion of what we intend. As an industry, we should be striving to make sure the audience can see the full range of imagery being recorded. Whether it is digital, millimeter film, panoramic Techniscope, 16 millimeter or Sony F65 — the problem is not with the acquisition.
Technology should take us forward to improve the quality for the future, and we should [as an industry] make a serious, global effort toward that goal. Although McGarvey had never worked on a musical before, he had worked on music videos and knew a thing or two about blending strong images into songs.
McGarvey says that creating a 19thcentury circus film took extensive planning, including the use of digital storyboards. Everything had to be seamless — including camera movement and the operators sometimes seen on screen. We even looked at the three-strip and two-strip Technicolor processes [using examples like The Robe or Seven Brides for Seven Brothers] and how the color responded. Dan Sasaki worked with us so that Seamus could shoot the whole movie with the 65 Sphero Prime lenses and Tiffen Glimmerglass filters.
However, Seamus chose reasonable apertures and got to his desired depth of focus without needlessly torturing focus pullers and wasting valuable time.
As he greets his family, who is hanging their washing on the rooftop, he has gathered a few objects from his desk. It was truly a product of interdepartmental cooperation, which is always a lot of fun! Moonlight played a key part. Initially, McGarvey thought to frontlight the painted moon but realized after tests it would be better to backlight the moon so he could change color, ambience and translucency.
This set gave rise to dance performances, flying trapeze acts and groundbreaking spectacle that would go on. Day says job number one for the circus set was controlling the outside sunlight.
And, of course, the outstanding rigging was done by Matt Hale and Ben Noble. Key Grip Guinness worked with Stunt Coordinator Victor Paguia and his crew to develop a rig that allowed the actress to be suspended off the end of a foot piece of truss, with a Libra Head stabilized off the other.
The stunt team pulled the truss around the ring as the shot evolved. The shot begins 90 feet out and ends at about eight feet on a close-up of Zendaya as she smiles after finding the camera with her gaze.
No rehearsal, on a millimeter lens, and wide open at frames per second! McGarvey says he would usually rely on traditional wide masters for the circus scenes. And this was one. He caught the flying camera rig and walked right into the ring. Choreographing dancers with the camera operators was an unusual task. They wanted the dances to feel very vivid and modern. Some of the dancers were precisely choreographed and shot lifted. Seamus and Michael wanted to feel the intimacy, so Victor Paguia was very helpful.
I was often weaving between Zac and Zendaya, handing. We had some close calls, but Victor helped us maintain the timing and close proximity, which helped in creating an elegant and passionate scene. Add to that compound moves with precise timing and choreography, and it really kicks up a level. I am so grateful to them for rising to the task with energy and good humor. Malcolm X and Juice. As a shy kid growing up in Jamaica, Queens, Daniel Patterson considered becoming a psychologist.
Both of these filmmakers are incredibly thoughtful in their approach to every project. Spike has such a wide-. The lesson is so valuable because the only thing constant in life is change. Today, the duo co-owns the production company Prep School Boys Cinema. That experience makes Kelly a great collaborator. Kelly explains. Later on, I realized the root of that desire was for having fun and adventure while on the job, and the film business seemed like a good fit.
His first DP assignment was Infamous, a web series. During a hiatus from film, he shot stills and worked with the legendary Annie Leibovitz. That taught him about framing and precision. In ensemble photographs with multiple A-list celebrities, the narrow window of opportunity sometimes translates to less than 10 minutes — for a group shot.
Hunter Laizure, a gaffer and frequent collaborator, says speed is the difference-maker for Jaramillo, who won Best Cinematography for Stranglehold. I know the weight of a loaded camera cart and how hard it is to push uphill, by yourself, in the mud. This has been the most crucial piece of info as a DP — it makes it easier to plan days and understand what kind of effort and time expenditure we need. Harvard University, B.
Finding her way behind the camera was a process of elimination for Laela Kilbourn. Growing up on the coast of Maine, she tried theater, dance and music, as well as reading and writing stories. It was there she realized she preferred being behind the camera to within the edit suite; her first job as a DP was on a narrative called Reindeer Games released as The Girl in the Basement , shot in three weeks on 16mm.
Kilbourn is best known for her documentaries. She sees your vision and takes it further. I try to be ready for both what might come next and for the unexpected, as there might be only one take. Quyen Tran planned to be a doctor, but in college at the University of Virginia, the Fairfax, VA native became more interested in art and music and ditched pre-med.
Shooting photographs to inform her painting, she realized a preference for the camera over the canvas. The idea of shooting movies was appealing, so she applied to film schools based on the strength of her black-and-white stills portfolio, ultimately choosing UCLA. This creates. A rare breed! Quyen is where she is through hard work and determination.
We should all look forward to the stories Quyen Tran will bring to light for us in theaters and living rooms for many years to come. University of Virginia, B. In order for us to continue to provide this service, your input is of the utmost importance. You are our only source of information.
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