Specials

Shooting Gallery 2009

All photographs, by definition, are “period” images. They capture a time and place that is ephemeral, and, in essence, gone the moment the shutter is snapped. Never again will what that shooter saw through the frame be exactly the way it was when he or she pushed the button on the camera. The same can be said for unit stills captured on period... [Read more of this review]

It’s Not Easy Being Green (or is it?)

From LED to ceramics, there are more environmentally friendly lighting options powering the film and television industry than ever before, as cinematographer Jim Matlosz reports. [Read more of this review]  Read More →

Surviving Sundance

FOUR Park City publicity pros offer SEVEN tips to the 10 craziest days in January. By Margot Carmichael Lester PARK CITY IN JANUARY … To indie filmmakers and their crews, those four simple words are akin to winning the lottery. To the Local 600 publicists who represent Sundance movies (or those heading up to the mountains to promote the filmmakers),... [Read more of this review]

Operation Imperative – Part I

Riddle me this: what do Touch of Evil’s three-and-one-half minute opening crane shot, Saving Private Ryan’s Normandy beach invasion, or Bound For Glory’s dusty ramble through a California migrant camp all have in common? If you said they’re among the most famous shots in movie history you’re only half right. What they... [Read more of this review]

What in the World are Daniel Marracino & Morgan Spurlock Doing?

DPs are accustomed to a certain amount of preparation for a shoot. Mundane things like lining up special equipment or engaging a second camera. Rarely does pre-production involve instruction in Krav Maga (the official self-defense system of the Israeli Defense Forces) or a crash course in surviving hostile regions. Unless, that is, you’re Daniel... [Read more of this review]

The Steadicam – “The biggest thing since Technicolor”

If we could listen in on the thoughts of most every cameraperson, we’d often hear, “There has to be a better way to do this.” Some people stop there. Others make half an attempt to create something and give up when something similar is in the airwaves—or, worse, a ‘trained engineer’ who says, “it can’t be done.” Others slog on to... [Read more of this review]

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Gear

Gear Guide: Digital Filmmaking

As digital cinematography becomes the rule instead of the exception for filmmakers in the documentary, news, television and even increasingly in the feature world, there is a hunger for more diverse and lightly encumbered, i.e., tether-free, technology. Every entertainment-oriented manufacturer and distributor is getting on the bandwagon, and a few... [Read more of this review]

Lighting Focus: The Cloud by Airstar

I was introduced to the The Cloud by Airstar on the Adam Sandler film Bedtime Stories. The look of the film called for a magical, stylized reality, and the filmmakers agreed that this reality didn’t include hard sun coming into contact with faces. Unfortunately, a number of scenes and locations were too remote to bring in a crane and overhead.... [Read more of this review]

Sundance Focus: Innovision Probe II

With the INNOVISION PROBE II, a tubular lens that offsets from the camera, I can put my lens anywhere in a car without being restricted - on the dashboard, through the steering wheel, or even overhead - and set up is quick. I can also move the camera in ways that are impossible with conventional lenses. On the movie Staten Island I did a shot that... [Read more of this review]

Still Photography: LitePanels Micro

This little LED unit, which offers continuous output and runs on AA batteries, is attachable to both Nikon and Canon stills cameras. Litepanels Micro for Stills can be dialed up to supply just the right amount of light to fill unflattering shadows and bring the subject’s face and eyes to life. No more red-eye or flash fill. The Micro for Stills features... [Read more of this review]

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