Cinematography
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Producer's Pal ep004 - Ryan E. Walters - Cinematographer

Producer's Pal ep004 - Ryan E. Walters - Cinematographer | Cinematography | Scoop.it
Subscribe to Producers Pal in iTunes   Or, here is a direct link to the Producers Pal podcast feed: http://feeds.feedburner.com/ProducersPal in case you use something besides iTunes.   Do...
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Shot on Canon C300: 'Blue is the Warmest Color', Cannes Palme d'Or Winner. By Joe Marine (3 Videos)

Shot on Canon C300: 'Blue is the Warmest Color', Cannes Palme d'Or Winner. By Joe Marine (3 Videos) | Cinematography | Scoop.it

Posted by Joe Marine on May 29, 2013 • 

 

"The Cannes Film Festival has finally come to an end, and the festival’s top prize, the Palme d’Or, went to Blue is the Warmest Color (also known as La Vie d’Adèle: Chapitre 1 & 2). The film, a small intimate love story, made history for a number of reasons, including being the first Palme d’Or winner based on a graphic novel, as well as the first film shot on a Canon digital camera, specifically the Canon C300. Click through for more on the film and some clips below.

 

(...) While most previous Palme d’Or winners have been shot on film, the last two years have seen films shot only on digital — certainly a sign of the times. It’s definitely interesting that the production chose the C300, most likely for its ease-of-use, low-light abilities, and flexibility on set, as they recorded internally to CF cards."

...

 

nofilmschool.com


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Movies In Color: Fight Club, 1999. Cinematography: Jeff Cronenweth

Movies In Color: Fight Club, 1999. Cinematography: Jeff Cronenweth | Cinematography | Scoop.it

Posted by Roxy Radulescu on April 29, 2013 • 


Via Mike Ritchie:

"If you're interested in cinematography and colour, then it's worth taking a look at moviesincolor.com by @RoxyMakesThings. Great work!"

 

A blog featuring stills from films and their corresponding color palettes. A tool to promote learning and inspiration. Updated daily.

 

"Movies In Color is curated and created by graphic designer Roxy Radulescu (RoxyMakesThings).


The idea started when I was watching Skyfall. I was taken with the cinematography and use of color more-so than the story itself. I wanted to find out what colors made up certain stills and after making a few color palettes for Skyfall, took it a step further by extending it to all films and starting a blog.

 

So far, the blog has not only been an aesthetic pursuit but also an educational pursuit that showcases the relationship between color, cinematography, set design, and production design. Overall, it is a study of color in films, but has other uses and applications. One of the goals is to give artists color palettes they can use in paintings, films, videos, graphic design, and other pursuits.


The Process. Research is first. I search for stills that are compositionally interesting as well as rich in color. I use the help of a color generator to get a very basic range of swatches. Then I piece together the general palette from that and other colors I think are prominent or worth including from the still. It’s all done in Photoshop to keep layout and swatch sizes consistent and to facilitate color sampling from the image."

...

 

moviesincolor.com


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Maria Zueras's comment, April 30, 2013 2:28 PM
Interesting!
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Sony F5 / F55 Optical Low-Pass Filters - DV Info Net

Sony F5 / F55 Optical Low-Pass Filters - DV Info Net | Cinematography | Scoop.it
DV Info Net
Sony F5 / F55 Optical Low-Pass Filters
DV Info Net
Last Friday saw the release of Version 2.0 firmware for the Sony PMW-F5 and F55 Large Single Sensor cine cameras.
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Working Bad: Cinematographer Michael Slovis On 35mm Film, HDTV, And How ... - Forbes

Working Bad: Cinematographer Michael Slovis On 35mm Film, HDTV, And How ... - Forbes | Cinematography | Scoop.it
U.S. News & World Report
Working Bad: Cinematographer Michael Slovis On 35mm Film, HDTV, And How ...
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RED Goes Global Shutter with New Motion Mount for EPIC ...

RED Goes Global Shutter with New Motion Mount for EPIC ... | Cinematography | Scoop.it
I own an arri alexa, arri lt and red epic…but I have the workflow to support owning these cameras…I'm commenting for people who don't have the $$$ and are trying to improve their reel (again there is no need to buy into a ...
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Directing Movies: Few Know More Than the Cinematographer - Variety

Directing Movies: Few Know More Than the Cinematographer - Variety | Cinematography | Scoop.it
Directing Movies: Few Know More Than the Cinematographer Variety Cinematographer Wally Pfister, in the midst of filming his feature directorial debut, “Transcendence,” enjoys some distinct advantages in his new role: One of his executive producers...
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6 Secrets to Great Portrait Lighting from Brian Smith

6 Secrets to Great Portrait Lighting from Brian Smith | Cinematography | Scoop.it
Daily discussion of photography business issues & photography websites. Marketing and sales tips for smart photographers, plus a dose of inspiration from the PhotoShelter team.
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RED Digital Cinema: Understanding REDlogFilm and REDgamma

RED Digital Cinema: Understanding REDlogFilm and REDgamma | Cinematography | Scoop.it

Posted by RED Digital Cinema on June 6, 2013 • 

 

"REDlogFilm and REDgamma are options in REDCINE-X that affect how digital values are translated into visible tones. This article delves into how these and other gamma settings work, along with how they can be used to simplify post-production—regardless of whether this is with quick dailies or manually-graded feature films.

 

BACKGROUND: LOG VERSUS LINEAR LIGHT

Digital cameras measure light linearly: doubling the light produces twice the charge at the sensor, which in turn doubles the numerical value recorded in the RAW data. While this might seem very standard and logical, it’s not how our eyes, film or video work. When our eyes receive twice the light, we only perceive this as a fractional intensity increase. Mathematically, this is described as perceiving logarithmically:"

...

 

RED.com


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"Round-Trippin": How to get from FCP7, Avid and Premiere into your Color Session? And More, by The Coloristos (38:23)

"Round-Trippin": How to get from FCP7, Avid and Premiere into your Color Session? And More, by The Coloristos (38:23) | Cinematography | Scoop.it

Posted by The Coloristos on May 29, 2013 • 

 

The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.


"In this Episode of the ColorCast, the Coloristos discuss round trip workflows. How to get from FCP7, Avid and Premiere into your color session? What are the potential pitfalls? The Coloristos all share tips on geting from app A to app B, and back; and when a one way ticket is your best option."


The Coloristos are:

• Josh Petok, a colorist working on reality and episodic television in Los Angeles.

• Juan Salvo, a colorist and online editor for films and commercials in New York.

• Jason Myres, a colorist and post-production engineer in Los Angeles.

...


Coloristos.com


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AbelCine’s New Family of Resolution Analysis Charts Designed by Jesse Rosen (05:11)

AbelCine’s New Family of Resolution Analysis Charts Designed by Jesse Rosen (05:11) | Cinematography | Scoop.it

Posted by Jesse Rosen and Juliet McNally on May 31, 2013 • 

 

"When we planned the redesign of our Burbank facility, we set out to upgrade our rental department with the most state-of-the-art and efficient rental bays we could imagine. A large part of this was introducing a completely redesigned resolution chart specifically designed to meet the more stringent demands of today’s 4K digital cinema cameras and lenses. 

 

Jesse Rosen, AbelCine’s Director of Technical Development, designed the charts, beginning with extensive research on what to measure, the many patterns and designs to consider, and evaluating what worked and what didn’t.

 

Many of our specialists and rental technicians spoke with AbelCine clients and personnel to gather their opinions and input on what should be included in the new charts, and continued to check in every few weeks throughout the process."

...

 

• You may read also: AbelCine Resolution Analysis Chart FAQ

• Watch NAB's interview with Jesse Rosen (05:11)

on studiodaily.com


blog.abelcine.com


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Watch: Cinematographer Roger Deakins on Working with the Coens ...

Watch: Cinematographer Roger Deakins on Working with the Coens ... | Cinematography | Scoop.it
One of my favorite cinematographers working today is Roger Deakins. Over his 40 year career, the British director of photography has worked with everyone.
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ARRI Unveils New AMIRA Camera At IBC by Dan Carr

ARRI Unveils New AMIRA Camera At IBC by Dan Carr | Cinematography | Scoop.it
ARRI Unveils New AMIRA Camera At IBC. 2k, 200fps one-man documentary camera. By Dan Carr | September 13, 2013. ARRI have surprised many people at IBC this year by unveiling a a new 2k camera called the AMIRA, aimed at the ...
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RED Epic Workflow for First Timers | Georgia Street Media

RED Epic Workflow for First Timers | Georgia Street Media | Cinematography | Scoop.it
As an editor of mainly DSLR (Digital Single Lens Reflex) camera footage, figuring out an efficient workflow for the unprecedented RED EPIC Camera was at first a little daunting. “5K?! Will my computer explode while processing hundreds of ...
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A Master Class in 5 Scenes From Gravity Cinematographer Emmanuel Lubezki

A Master Class in 5 Scenes From Gravity Cinematographer Emmanuel Lubezki | Cinematography | Scoop.it
Featuring Gravity, The Tree of Life, and Children of Men. (Masterclass in 5 scenes with 'Gravity' cinematographer Emmanuel Lubezki.
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'Breaking Bad' Cinematographer Michael Slovis Looks At The End ...

'Breaking Bad' Cinematographer Michael Slovis Looks At The End ... | Cinematography | Scoop.it
'Breaking Bad' Cinematographer Michael Slovis Looks At The End. Now that the show is over, read up on how DP Michael Slovis approached the look of Breaking Bad. Breaking Bad. “I go for the emotion in the scene, not to ...
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Arri ALEXA Camera Lineup on AbelCine

Arri ALEXA Camera Lineup on AbelCine | Cinematography | Scoop.it

Posted by AbelCine on July 5, 2013 • 

 

"The ALEXA camera lineup continues to expand. It now includes the most affordable ALEXA ever, the ALEXA HD, which is optimized for 1920×1080 ProRes Recording, and the refreshed ALEXA XT family. This chart gives an overview of the members of the ALEXA lineup and compares specs side-by-side.

 

A pdf version of this chart is also available to download."

...

 

resources.abelcine.com


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