VITTORIO STORARO, ASC, AIC, PAINTS A MULTI-HUED PORTRAIT OF DAYS GONE BY. THE GREATEST SHOWMAN SEAMUS MCGARVEY, ASC, BSC, AND AN ACROBATIC GUILD CAMERA TEAM REACH FOR THE STARS. Local , International Cinematographers Guild, retains all ancillary and expressed rights of content. AVENGERS: INFINITY WAR MARVEL’S TWO-PART WRAP-UP TO THE AVENGERS SAGA COMMENCES WITH INFINITY WAR. Steven Poster, ASC National President International Cinematographers Guild IATSE Local Local , International Cinematographers Guild, retains all ancillary and expressed. ICG Magazine has been the world's premier cinematography publication since Published monthly by the International Cinematographers Guild, its core.

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print outlet, terney.info is fast becoming the entertainment industry's . ICG Magazine ONLY accepts high resolution, print ready PDF or. TIFF files, unless. The mission of ICG Magazine is to create a greater awareness of the art and craft of .. ICG Magazine ONLY accepts high resolution, print ready PDF or. CBS TV's reboot of the classic s crime series Magnum P.I. provides plenty of thrills, chills (in the water) and near-spills for its Hawaii-based Guild camera.

All rights reserved. The bottom photo on page 41 in our November issue Over the Rainbow was incorrectly captioned. The correct wording should be: And one of the great methods of problem solving is by deductive reasoning. As I learned so many years ago in college, you identify and define the problem and then create criteria to find a solution. In , a young cinematographer had to shoot on multiple days in a facility that was used to counsel troubled teens.

All of those beauty shots in that number were basically Marc [Webb] and Todd getting very creative in the desert. The scene is triggered by a fade to black in the elevator and fade-in to the ballroom at L.

The lifts were purposefully awkward and difficult and could only be executed a few times, so camera and choreo had to work in tandem. I can adjust spacing to make shooting more efficient for lighting, and that way we can spend our precious shooting time, normally half a day for one entire music video, capturing the dance as many times as possible.

The cinematic quality of those lenses is outstanding. The scene begins with Rebecca speaking to Nathaniel in his apartment, with the latter backed up to a large king bed. The camera, behind Nathaniel and facing Rebecca, suddenly pivots degrees as the apartment transforms into a Fosse-like stage, with pools of colored light shining down, and the bed alone in the center of the room.

Then I had to just go with the flow and trust my abilities to know the difference between four feet and four feet, three inches! It was such a long take that it was like a puzzle. The actors motivated the camera, so sometimes I needed them to stop for a moment so everyone could join the group and walk down to the next landing together.

She takes a cell phone shot of Moonee standing there, with the burning house behind her, super awkward.

It synthesizes the whole movie. It had more to do with time than about coverage. They were game and they finished the movie, always with a good spirit.

The original idea was to have the children sitting in a Disney World ride. So Baker changed the idea to the gut-wrenching last sequence, in Disney World, with an iPhone 6s with Filmic Pro software and the Moondog Labs anamorphic adapter. At its debut in Cannes, after it received glowing reviews, he recalls, the lines to see the movie grew. Keeping it alive is really important. Cineo now builds its award-winning Full-Gamut lighting technology in a smaller package: Standard Features: For Mary, we used the cameras primarily in a full-studio build with Panavision Primo 70 lenses.

We need more and more choices about how we make our films. The large-scale sensor, the ability to use it in studio mode as well in more independent levels like trains and streets, and not intimidate people with it allows for shots that we may not be able to get in other situations.

The camera records 8-bit 4: The decision was to use Convergent Design Odyssey 7Qs as the primary negative, while also recording internally to an SD card in the camera. Panavision provided modified Tilta cages and custom XPV- to E-mount lens adapters around which the build was created. So you end up with this primarily stills camera hidden inside all this other stuff that we rely on.

Pasquariello says they sent tests back and forth with the dailies house in order to create a LUT that approximates a two-stop reduction. I like clean, richly detailed shots, so flares and other distortions to the image were avoided, unless necessary to the story. The height of the ceiling, pillars, windows and set deck gave us infinite angles to play with. Gaffer Jesse Goldberg says lighting Hensen was a pleasure. By utilizing the latest LED fixtures and wireless dimming, his team was able to reduce the overall weight and ampacity of the lighting plan, thereby minimizing cable profile and impact on the physical location.

The dancing scene, where Mary asks Benny to let her get out — take the kid and make a life for herself — was shot with Beattie on Steadicam doing a as a counter to the dancing pair. Goldberg says they decided to rig two 2-foot. Quasar LED tubes in a Kino housing diffused with bleached muslin cloth. Proud Mary being an action movie, the biggest sequence was saved for the end — a long dolly shot covering feet of track, with a highspeed camera.

The final shoot-em-up takes place in a Lawrence, MA warehouse, actually the bottom floor of an old shoe factory. The art department built out a distribution hub for the main crime family, with long hallways — filled with shipping pallets — and plenty of barrels and boxes to upend in the process.

Those ranged from shooting in tight spaces, such as in a car or riding on a train, to mounting RX0 cameras in very tight spaces, to grab dynamic images while still embracing the language of cinema. Our camera team was quick to get this and help make the best movie possible.

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These spectacular lenses give lovely, impressionistic, out-of-focus characteristics behind the subject. The sets and locations behind the actors have a very cinematic feel with beautiful bokeh, but their real strength is how they render faces with kindness — never harsh or too sharp.

The new mm lens instantly became one of our B-camera favourites to use daily for close-ups. They handle sunlight and high contrast settings beautifully, especially when shooting in the woods because they help to soften, hold and roll off highlights while keeping shadow detail solid. The SF lens gives strong, unique, dimensional artefacts with lots of depth and dynamism when shooting into direct light. Beautiful, peacockcoloured flares visually enhance poignant moments, which is the reason that the SFs are our go-to lens set for The Crossing.

The ACs love the mechanics. We paired these lenses with the Alexa Mini — a great combination if you want to get a very cinematic viewing experience. Grad Film program! Our gaffer referenced an editing class we had all taken in which the teacher used The Conversation as an example, and this immediately provided common ground.

But it offers a compressed time to experiment — and more importantly, to fail. You can focus on filmmaking as an art form before having to focus on it as a job. Years later, when I shot my first low-budget feature, I used what I learned at school for a dream sequence. With Scorsese, if one little thing is wrong — we do it over.

In fact, Zuniga keeps taking classes in underwater shooting. Another USC alumnus, Janine Sides , credits the discipline she learned and the relationships she made there as helping to determine her direction. Today, Sides splits her time evenly between narrative and documentary. Suddenly, everyone is moving a little faster, things are more demanding, tempers sometimes rise. The best thing is to just take a deep breath or even count to ten. The image always suffers if you give in to the rise.

It also provided me with a network of people working in the film industry. Brosnan is currently a digital imaging technician on Gotham along with Robert Strait.

Their choices and actions have helped shape my career and my attitude. I do my best every day on set to pay forward that same kindness, understanding and respect others have given to me over the years, and with zeal. Storytelling is as much of an art form as it is a science.

Whatever the medium, sound or picture, you will uncover countless ways to elevate the impact of your story on any screen. PA19 In order for us to continue to provide this service, your input is of the utmost importance. You are our only source of information. Please take note of the following requests. They will allow us to better serve you. Please provide up-to-date and complete crew information including Still Photographers, Publicists, Additional Units, etc.

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ICG Magazine July - The Interview Issue

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