IndieWire reached out to the directors of photography whose films are in awards contention and are among the most critically acclaimed films of the year to find out which cameras and lenses they used and, more importantly, why these were the right tools to create the visual language of their respective films.
All films are listed alphabetically by title.
“Being the Ricardos”
Dir: Aaron Sorkin, DoP: Jeff Cronenweth
Format: 2:40 8k with a 10% reduction for frame adjustments and stabilization
Camera: Red Ranger 8k Vv
Lens: Arri DNA Primes
Cronenweth: It always starts with the story and with an Aaron Sorkin script you are going to be taken on a human rollercoaster of emotion and humor through challenging interpersonal relationships. Spherical 2:40 was the right choice in representing the scale (or lack of) and the era the film takes place during. The approach to “Being The Ricardos” was to capture the...
All films are listed alphabetically by title.
“Being the Ricardos”
Dir: Aaron Sorkin, DoP: Jeff Cronenweth
Format: 2:40 8k with a 10% reduction for frame adjustments and stabilization
Camera: Red Ranger 8k Vv
Lens: Arri DNA Primes
Cronenweth: It always starts with the story and with an Aaron Sorkin script you are going to be taken on a human rollercoaster of emotion and humor through challenging interpersonal relationships. Spherical 2:40 was the right choice in representing the scale (or lack of) and the era the film takes place during. The approach to “Being The Ricardos” was to capture the...
- 1/3/2022
- by Sarah Shachat
- Indiewire
Capa and Taro lived, loved and died on the frontline, becoming the most famous war photographers of their time. As a new novel about them is published, we explore their real relationship
It begins with a photograph. In 1934 a struggling Hungarian photographer, André Friedmann, living in exile in Paris, is commissioned to take publicity pictures for a Swiss life insurance company's advertising brochure. On the lookout for potential models, he approaches a young Swiss refugee, Ruth Cerf, in a café on the Left Bank and convinces her to pose for him in a Montparnasse park.
Because she does not entirely trust the scruffy young charmer, Ruth brings along her friend Gerta Pohorylle, a petite redhead with a winning smile and a confident manner. So begins the most iconic relationship in the history of photography, and an intertwined and complex story of radical politics, bohemianism and bravery that, in the intervening years,...
It begins with a photograph. In 1934 a struggling Hungarian photographer, André Friedmann, living in exile in Paris, is commissioned to take publicity pictures for a Swiss life insurance company's advertising brochure. On the lookout for potential models, he approaches a young Swiss refugee, Ruth Cerf, in a café on the Left Bank and convinces her to pose for him in a Montparnasse park.
Because she does not entirely trust the scruffy young charmer, Ruth brings along her friend Gerta Pohorylle, a petite redhead with a winning smile and a confident manner. So begins the most iconic relationship in the history of photography, and an intertwined and complex story of radical politics, bohemianism and bravery that, in the intervening years,...
- 5/12/2012
- by Sean O'Hagan
- The Guardian - Film News
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