DP Rachel Morrison Lenses HBO's CONFIRMATION

Rachel Morrison is the woman behind the camera of HBO’s Confirmation, starring Kerry Washington as Anita Hill. The film the film explores Hill’s accusations of sexual harassment against then-nominee for the U.S. Supreme Court, Clarence Thomas. In our latest interview, Morrison describes how she developed the "look" for the film, creative freedom, visual references and more.

Describe how you got involved with Confirmation.
I lensed Dope for Rick Famuyiwa. When he signed on to direct Confirmation, he called me right away.
Senior Digital Colorist Shoots in Multiple Formats on 'Knight of Cups'

Bryan McMahan is one of the motion picture industry’s most experienced and accomplished digital colorists with nearly 100 feature films to his credit. His recent efforts include Knight of Cups and Weightless, his third and fourth collaborations with director Terrence Malick and with Academy Award® winning cinematographer Emmanuel Lubezki. He has also worked with such directors as William Friedkin, Sam Mendes, Ridley Scott, John Woo and Walter Hill.

How did you get involved with 'Knight of Cups'?
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.
Football Concussion Short 'The Duke' Screens at Tribeca

Football concussion short film, 'The Duke,' based on the memoir "I'm the Duke" by J.P. Duke, is set to screen at Tribeca Film Festival which will run from April 13 - 24. Director Max Barbakow talks to ProductionHUB about the importance of tackling football concussions in the film and the impact he hopes the film has on those who view it.

How does it feel to have The Duke accepted at seven esteemed film festivals (including Tribeca)?
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.
Canon’s Cine-Servo 50-1000mm 4K Ultra-Telephoto Zoom Lens Changes the Game

With the world's longest focal length and highest (20x) magnification among Super 35mm zoom lenses, the new Cine-Servo zoom lens offers cinematographers new possibilities for shooting scenes in HD, 2K and 4K on single-sensor cameras. Senior Advisor, Film and TV Production at Canon, Tim Smith, describes how the 4K Ultra Telephoto Zoom Lens has changed the game for cinematographers.

How has the Cine-Servo 50-1000 mm 4K Ultra Telephoto Zoom Lens enhanced opportunities for cinematographers?
It’s been overwhelming; having a lens that does things that cinematographers have never been able to do before has really sparked their imagination.
Coke's Super Bowl Ad Gets Interactive with the Help of Interlude

Interlude, a media and technology company that enables production and web distribution of selectable, interactive multimedia videos teamed up with Coke for its Super Bowl 50 ad. Using their own platform and creativity, they reimagined Coke's ad and delivered a completely interactive masterpiece featuring The Hulk and Ant Man.

How did you and Coca Cola collaboratively come up with the idea to reimagine their Super Bowl ad?
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.
Ftrack Helps O2 Filmes Present a Weekly Children's Series

O2 Filmes, one of Brazil's top film studios, handles a variety of tasks across the production process, from pre to post, across feature-length movies, television series, advertising, and even VR. Weekly children's TV show, 'Which Monster Bit You?' which blends live-action segments with 3D animation, matte painting and puppets, trusted ftrack to help get the job done. VFX supervisor at O2’s post-production department, Sandro di Segni explains how they get the job done.

Describe the pre-production process for each of these animations. What sort of planning goes into each episode?
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.
New portable, deployable Paladin case light

Paladin’s unparalleled portable work and scene light was introduced last spring to give construction crews the flexibility to extend working hours and work safely in dark places, without power cords. Now, Paladin introduces the new Case Light CLU10K featuring ultra-durable construction made in the United States of America.

Why was the Paladin Case Light, CLU10K created?
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.
AMC's "Into the Badlands" Takes Unique Approach to Color Grading this Season

AMC’s hit television series “Into the Badlands” took a unique approach when it came to color grading the first season. The first three episodes of the six-episode season were graded by Colorist George Delaney and the latter three were graded by Colorist Shane Harris both of Deluxe’s Encore. All grading was overseen by the show's Supervising Colorist Stefan Sonnenfeld of Deluxe’s Company 3.

What direction were you given for the look of the show?
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.
Creating a '60s Feel for 'Operation Avalanche' with Pocket Cinema Cameras

The highly anticipated Sundance film “Operation Avalanche," shot by award winning director Matthew Johnson and DPs Jared Raab and Andrew Appelle, was shot using the Pocket Cinema Cameras, along with a unique film conversion workflow to capture the look and feel of an underground 1960s documentary. To capture Johnson and the DPs’ vision, the film had to be shot with the look of 1960s film stock and had to look like most of the footage was shot covertly. Raab and Appelle explain how they got the job done in our exclusive interview.

Describe your thought process for 'Operation Avalanche' and why you went with a '60s documentary feel.
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.
Inside Canon's 4K Edit Bay at Sundance with Jon Carr

Director, Editor and Colorist, Jon Carr led a glimpse into the EOS C300 Mark II's post-production workflow at Sundance, where visitors could witness Carr's tricks for ingesting, editing, and coloring 4K footage in Adobe Premiere Pro CC at The Canon Creative Studio. Carr provides an exclusive look inside The Canon Creative Studio (4K edit bay), the interactive experience attendees were able to have and the impact of 4K in the production world today.

Describe Canon's 4K edit bay and what attendees could expect on-site?
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.
B-Minors Chooses SmartView & SmartScope Monitors for Family CHRGD's “Gaming Show (In My Parents’ Garage)”

Andrew Kowalchuk, Technical Director of the "Gaming Show" at B-Minors, the kids programming division of Banger Films, discusses why he and his team chose Blackmagic Design SmartView & SmartScope monitors for Family CHRGD's "Gaming Show (In My Parents' Garage)", what things to consider before you choose a monitor and how they produced gaming visual effects for each episode.

What makes a good monitor? What factors do you look for when deciding which monitors to use?
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.
MythBusting with Blackmagic Pocket Cinema Cameras

DP Scott Sorensen is using 10 Blackmagic Pocket Cinema Cameras to shoot secondary footage, cold openings and the new opening title sequence on Discovery Channel's hit television show, "MythBusters." He debunks how these cameras helped him get the perfect shot, its best features and what other types of projects the cameras can be used for.

How did you determine you would use Blackmagic Pocket Cinema Cameras on MythBusters?
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.