Jeff Cronenweth, ASC, and David Fincher embrace a 6K workflow for Gone Girl.
Fincher stresses, though, that extra resolution is only as good as the creative choices it serves. “People can forget that the art of photography is first and foremost about manipulating emotions,” the director states. “All the ones and zeroes and pristine glass and titanium fittings do not matter [unless] they help impact the viewer’s feelings. For us, collecting 6K was simply a way to get to the most pristine 4K, because then we could do all the stuff we wanted to do in post to emphasize the performances we liked. If I really like this take or that performance, but for whatever reason there was a minor imperfection, we can better fix that with the larger frame.”
After one glance at Darius Khondji's IMDb page it's easy to see that the famed French cinematographer is a living legend. From his work with David Fincher (Se7en, Panic Room), to Michael Haneke (Funny Games, Amour), to Woody Allen (Midnight in Paris, To Rome With Love), and my personal favorite, Jean Pierre Jeunet/Marc Caro (Delicatessen, City of Lost Children), it's safe to say the Khondji has had a storied career as a cinematographer. IndieWire recently talked with Khodji about his advice for
There's plenty of advice out there for aspiring filmmakers and cinematographers, some great, some garbage. With that in mind, Indiewire asked the cinematographe
"A camera operator once told me that you're not hired because you know the gear or the technical process better than someone else, you're hired because you communicate with the actors and director better than someone else. I find this to be very true. Communication is probably 90% of what I do."
World-class cinematographer Rodrigo Prieto ('The Wolf of Wall Street', 'Argo') explains why the Canon C500 was the right choice for his short film 'Human Voice' -- here's a hint: it has a lot to do with color
Season 2 gives us a whole new crop of amazing film makers whose stories have not yet been heard. From Steven Poster’s wild tales from the set of Pee Wee’s Big Top Adventure to Daniel Pearl’s experience on the original Texas Chainsaw Massacre AND it’s reboot, and Brandon Trost’s work with Seth Rogen and Adam Goldberg on This is the End
It's been one hell of a year for the craft of cinematography. Nowhere is that more apparent than in Jacob T. Swinney's subtle, well-executed supercut of a few of 2014's most memorable cinematographic moments. https://vimeo.com/115143740
In the 1970's, cinematographer Garrett Brown was tired of the bulky dolly equipment needed to get a smooth, moving shot. Out of this frustration, came an invention that would revolutionize the cinema industry - the Steadicam.
For many of us, our favorite lights to use are the ones we can get our hands on, which often means cheap shop lights or the least expensive lighting kit you can afford on eBay or Amazon. However, just because you’re not able to use the tools mentioned below because of price, availability, or storage limitations doesn’t mean that the filmmakers and/or studios you work with in the future won’t be using them on their projects. Also, it’s just exciting to learn what some of the industries great cinematographers are using to capture the looks in their films!
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