4K Opinions & Interviews

I lensed Dope for Rick Famuyiwa. When he signed on to direct Confirmation, he called me right away.

I’ve worked with Director Terrence Malick and DP Emmanuel Lubezki for a while now. For this film, they came to me and asked me to get involved from the dailies to help get the color right from the beginning. Then, it was a seamless transition to the DI.

Making movies is a marathon, and it's always gratifying to cap that journey with a festival run. When you finish something, the audience assumes ownership, so it's immensely helpful to the life of our film when amazing festivals like Tribeca give us the opportunity to share the work with more people in diverse, distant markets. Hopefully, the consistent flow of CTE-related news and the NFL's shameless attempts at damage control keep our movie relevant so we can continue to focus on the athletes struggling with this very real malady.

It’s been overwhelming; having a lens that does things that cinematographers have never been able to do before has really sparked their imagination.

We took the Coke ad and re-imagined the story using our platform and a little creativity. Coke has been a strong supporter of Interlude for some time, and when we introduced the concept for this interactive ad, they were really excited. Teams across several disciplines collaborated to make it happen, including filmmakers, animators, producers, and developers.

We would look at the script with the directors alongside the children's drawings and discuss the personality of the monsters. We were heavily involved in shooting and planning all the character interactions and green screen shots.

The Paladin LED Case Light is a portable, durable, lightweight solution to scene lighting that sets up in minutes. High lumen output LEDs transform even obscure, remote areas into planes of visibility for an extended period of time.

George Delaney (GD): Stefan worked with the clients and then did a first pass, but like a lot of television shows, there were things about the look of this world that evolved as they continued to work on it. It's futuristic, but it's also got several kinds of looks. Some of it is naturalistic and some is a bit more intense. The poppy fields play an important role. Shane Harris (SH): We worked with the cinematographer, producers and AMC giving us notes as the look of the show took shape. There are also a lot of visual effects in the show and as is usually the case, we did some massaging to integrate them into the surrounding shots. The poppy fields are very important, and there are a lot of shots with them and fortress walls, and it was important to give the poppies a consistent feel while being aware of the overall environment so that everything looks real.

Jared Raab (DP) - One of the greatest challenges of the film is getting the audience to suspend their disbelief and buy in to what is essentially a rewriting of real history. Many things were working against us on the production end, from budget constraints to the fact that we like to shoot in real environments with real people. Nailing the authentic look and feel of 1960s verite documentary was something we knew we could control. If we got that right, much else would be forgiven. Andrew Appelle (DP) - Yeah, shooting a film like this in a conventional cinematic format would have made the subject matter much harder to swallow. If we're trying to tell the audience that man didn't make it to the moon  it's much easier to do so if we say the cameras (and cameramen) are right there along for the ride, documenting the entire process. Also the incredibly improvisational scene work doesn't really allow for a "controlled" shooting environment which means that the documentary style just really ends up complimenting the run and gun mentality of the set.

The Canon Creative Studio is a really cool experience where visitors can get their hands on all of the great cameras and lenses that Canon has on the market. One of the the big pushes that Canon is making is with 4K. The new C300 Mark II shoots 4K internally to CFast 2.0 cards. The goal of having an edit bay within the Canon Creative Studio is to get people comfortable with working with these large files. The C300 Mark II also has a new log curve called Canon Log 2. This log curves requires post know how and we go over color correction techniques using the Lumetri color correction tools in Premiere Pro to get the most out of your imagery. The goal is a one on one experience where we can really go over whatever people would like to know in terms of post workflow to develop a comfort level in delivering the best possible imagery.

Video professionals know that monitors can can be just about any price, from $100.00 to $30,000. So cost is always a big factor: do you get good value for the money? For me Blackmagic products always deliver in the value department. The Blackmagic Design monitors deliver good picture detail and colour rendition at a price that works for my budget.

We adopted the Pocket Cinema Camera at the start of a new season of MythBusters. The show had changed dramatically at the beginning of the tenth season and we wanted to update the look of the show. In San Francisco, we'd been toying around with DSLRs and liked the look achieved with a large sensor. It was our Director of Post Production, Anthony Toy, who first suggested the Pocket cam.