Walk into an event at the yearly gathering of cinematographers at Poland’s Camerimage Film Festival and you are likely to find Ed Lachman, the unassuming Dp with his trademark hat, tucked away in a back corner holding court as a collection of his celebrated colleagues hang on his every word. They aren’t simply there to hear how Lachman created the look of a chemically-tainted light on his most recent film, “Dark Waters” — or one of the dozens of his peers’ “how the hell did Ed do that?” queries — but also how a master like Robby Müller sculpted low light, or Sven Nykvist studied natural light, or Vittorio Storaro manufactured his chiaroscuro light. Lachman serving as a common thread to these three diverse pillars of the craft, each of whom he considers a close mentor, having studied under and worked for them as he learned the craft himself.
Lachman’s knowledge,...
Lachman’s knowledge,...
- 12/3/2019
- by Chris O'Falt
- Indiewire
In the early days of Hollywood’s adaptation of digital cinematography, there were those artists, like Michael Mann and cinematographer Dion Bebe, or David Fincher and Harris Savides, who explored the unique properties of the medium, rather than simply try to make it look like celluloid. Even in 1080 HD-shot movies like “Zodiac” we saw how in low light and a night setting we could peer into this low contrast edge of exposure. While digital couldn’t, and still doesn’t, approach the incredible dynamic range that film negative can produce in rounding out an image’s highlights, there was incredible latitude filmmakers could find in the “toe” of exposure of a digital file.
There is one cinematographer, in particular, who has not only continued to explore the dark edges of the digital image, but used it as a canvas to paint. Bradford Young’s remarkable body of work this decade started off shooting on film,...
There is one cinematographer, in particular, who has not only continued to explore the dark edges of the digital image, but used it as a canvas to paint. Bradford Young’s remarkable body of work this decade started off shooting on film,...
- 12/3/2019
- by Chris O'Falt
- Indiewire
Colorist Joe Gawler of Harbor Pictures has worked on a number of films and television shows over the years, including A Most Violent Year, Midnight in Paris and Arrival. For Wonderstruck, Gawler had to work with multiple film stocks. The story takes place in two time periods—the 1920s and the 1970s—and black & white and color film were used to convey the different time periods, while digital material was also shot for both periods. In this interview he talks about working with film and digital and how to become a better colorist. Filmmaker: How did you become involved in this project? Gawler: There’s […]...
- 10/26/2017
- by Michael Murie
- Filmmaker Magazine - Blog
Blackmagic Design would like to congratulate all the 2017 Oscar nominated films and the production professionals whose hard work and creativity helped bring them to life. Blackmagic Design is honored that its Pocket Cinema Camera digital film camera, as well as its DaVinci Resolve Studio editing, grading and finishing solution, were used on some of this year’s Oscar nominated films, including “Hacksaw Ridge,” “Arrival” and “Moonlight.” Some of the 2017 Oscar nominated films that used Blackmagic Design products include: “4.1 Miles” graded with DaVinci Resolve by Colorist Chris O’Dea; “13 Hours: The Secret Soldiers of Benghazi” graded with DaVinci Resolve Studio by Colorist Stefan Sonnenfeld of Deluxe’s Company 3; “Arrival” graded with DaVinci Resolve Studio by Colorist Joe Gawler of Harbor Picture Company; “Fire at...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 2/17/2017
- Screen Anarchy
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