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“In the face of an industry-wide crisis, I want to unequivocally voice the International Alliance of Theatrical Stage Employees’ stalwart support for striking entertainment workers in SAG-AFTRA and the Writers Guilds. The Actors and Writers’ cause is reasonable and just, and is part of the same struggles of every worker whose labor powers America’s film and television industry.


The heartbeat of entertainment is the creativity and dedication of working people using their talents and skills to bring cherished stories to life. It is this very heartbeat the studios threaten to silence with reckless disregard for fairness and human artistry. The urgency of this moment cannot be overstated. Our industry is at a crossroads, and the actions taken now will affect the future of labor relations in Hollywood and beyond. The world and history are watching as entertainment workers once again take on the Alliance of Motion Picture and Television Producers (AMPTP), an ensemble of media mega-corporations collectively worth trillions of dollars, including Amazon, Apple, Disney, Netflix, Universal, Warner Brothers, and others.

I am disturbed by the studios’ weak attempts to divide and conquer union members across our industry in recent days. The economic fallout for below-the-line crewmembers is real, but IATSE members know the studios were responsible for shutting down film and television production months before their negotiations with the writers and actors even started.

Make no mistake — if the studios truly cared about the economic fallout of their preemptive work slowdown against below-the-line crewmembers, they could continue to pay crewmembers and fully fund their healthcare at any moment, as they did in 2020 during the onset of the COVID-19 pandemic. Instead, grassroots groups of writers, actors, and directors like The Union Solidarity Coalition are stepping up to fund mutual aid that directly benefits our members, and I recognize them for organizing this much-needed support.

It’s plain as day who our allies are. We stand shoulder-to-shoulder with our SAG-AFTRA and Writers Guild kin. Their fight today foreshadows our fight tomorrow, and we must stand united until the studios acknowledge our collective worth, and the workers prevail.”

In Solidarity,
Matthew D. Loeb International President, IATSE

# # #

The International Alliance of Theatrical Stage Employees or IATSE (full name: International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada), is a labor union representing over 168,000 technicians, artisans and craftspersons in the entertainment industry, including live events, motion picture and television production, broadcast, and trade shows in the United States and Canada.

For more information please contact:
General: comms@iatse.net
Press: press@iatse.net

The new Godox F600Bi Bi-Color 4x4 LED Light Panel looks to be the perfect interview key light for corporate and documentary projects. I just pre-ordered one. $1750 out the door seems to be a good value. There are of course other light mat options, but none this affordable.

Taking Super-8 to new heights!

Wanna shoot some amazing TikTok's or Instagram Stories, well ARRI has got you covered.
Shooting content that requires a vertical deliverable? In this Tech Talk Sean explains how to make the most of our Open Gate recording formats as well as our specific Vertical Format Adapters to get high-quality, cinematic 9x16 footage.

 

 

Filmmakers can use the LFL to study a range of lenses and filters and see how they perform. I hope the videos will assist you in making creative and technical decisions during prep and shooting. If you like the look of any lenses or filters in the LFL I’d recommend testing them yourself to see them first hand before committing to shooting with that glass for your project.

Congratulations to James Friend for winning this year's Oscar for his work on ALL QUIET ON THE WESTERN FRONT!

RED DIGITAL CINEMA® has officially announced the availability of the V-RAPTOR 8K S35 and V-RAPTOR XL 8K S35 featuring RED’s powerful, new S35 sensor. The new 8K S35 sensor has the same fast cinema-quality sensor scan time as its 8K VV counterpart, which is twice as fast as previous generations while maintaining incredible dynamic range with 16.5+ stops and coverage for Super 35mm lenses.

BLONDE cinematographer Chayse Irvin ASC, CSC takes us behind the scenes of the BLONDE production. See the process that went into recreating some of Marilyn Monroe's most iconic shots for this film.

In a report shot entirely on film, NBC News’ Gadi Schwartz tells us about the growing demand for vintage cameras as photography shoots up in popularity.


The boom has been fueled by younger generations, social media and a desire to slow down in a hyperconnected world. When setting out to report this story, Gadi realized there was only one way to really do it justice. Take a behind-the-scenes look as Gadi shoots a few rolls with photographer Jason Kummerfeldt in Los Angeles, with their journey captured on a film camera.

 

"One of the major challenges on Nope was how we were going to shoot the night-time sequences, which were mainly all big set pieces. When Jordan and I went on the night scouts around Agua Dulce, we saw that there was no available light whatsoever, and realized there was no way we were ever going to be able to light and photograph these large expanses convincingly.

RED officially announced the availability of the new V-RAPTOR XLTM 8K VV camera today during a livestream event. The V-RAPTOR XL system expands on the most advanced RED® camera platform ever, leveraging the current flagship V-RAPTOR 8K VV + 6K S35 multi-format sensor inside of a large-scale-production ready XL camera body. The all-new unified XL body is designed to support high-end television and motion picture productions. 

Gunther Machu and Florian Milz at CineD have tested the Alexa 35 and found that it has more dynamic range than any previously tested camera.

The air-to-air team behind Top Gun: Maverick shares a detailed behind-the-scenes look at exactly how they pulled off making the groundbreaking film, including gear choices, challenges, victories, and more.

This summer, hundreds of professional filmmakers in New York City will join forces to create six short films as part of the Women’s Weekend Film Challenge (WWFC). A grassroots initiative founded in 2017 by filmmakers Katrina Medoff and Tracy Sayre, WWFC aims to address the lack of women and nonbinary people behind the camera and on screen through a variety of programs, including its signature film challenge. 

ARRI’s first new sensor for 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, film-like highlight handling, better low light performance, and richer colors. The new REVEAL Color Science takes full advantage of the sensor’s image quality and provides a fast, simple workflow, while ARRI Textures enhance in-camera creative control. Easy operation, robust build quality, new electronic accessories, and a complete new mechanical support system round out the ALEXA 35 platform.

Tonight I was watching the last episode of season 4 The Marvelous Mrs. Maisel.  I was watching the credits at the end and I saw the cinematography was by M. David Mullen.  The light bulb went off in my head, that's the real cinematographer that answered questions on that forum I used to look at every day.  So I see that you still post here so I just wanted to say that your cinematography for Maisel is MIND BLOWINGLY EXCELLENT.

In cooperation with Kodak, Panavision, and FotoKem, IMAX will develop and deploy at least four new, state-of-the-art film cameras over the next two years — growing its existing fleet of film cameras by 50% — with the first new camera being put into use by late 2023. 

From Ireland to Space and Stops in Between, RED Is Behind the Scenes
The Giant Screen Cinema Association (GSCA) Film Expo opened this week with a number of compelling films screening for attendees that originated on RED cameras.
Continuing its leadership in natural history filmmaking, RED is proud to have supported the filmmakers behind 13 of the seventeen films being presented in the New Films category.

Saw it last night. Superb. Didn’t expect it to be so good as I really know the original film and I was fearing some eye rolls on my part but I was fully immersed and blown away by it. The casting was refreshing I thought. Visually spectacular!!!

Legendary cinematographer Sir Roger Deakins was knighted Feb. 1 by Prince Charles at Windsor Castle. He is the first cinematographer to receive this recognition. “The knighthood was an incredible honor that must be shared with my crew and collaborators. They are the reason I have been able to do what I’ve done. It’s a wonderful recognition that we all share,” said Deakins in a statement provided to The Hollywood Reporter. Joining Deakins at the ceremony was his wife and collaborator, digital workflow specialist James Ellis Deakins. The pair are in the U.K. prepping for Sam Mendes’ England-set Empire of Light.

They finally made a camera that fills all of my workflow demands for a tiny camera (swivel screen, internal recording, etc) however I was wondering if anyone had experience with the footage of this camera? I read somewhere it has 14 stops of dynamic range but I was wondering how people felt about the color science of it? Haven't seen too many side-by-side shootouts with this camera and an Arri sensor.

https://www.bhphotovideo.com/c/product/1684244-REG/canon_5077c002_eos_r5_c_full_frame.html

And does anyone know if that fan on the side gets ridiculously loud??? Thanks.

So a show is being originated on some Kodak Ektachrome 100D 35mm.... sure looks great.

Any new breakthroughs or improvements coming out?
Any new scanner options on the low budget front?

Just wondering if anyone has any info on if we're looking at motion picture film price increases come the new year. Seems like its certainly happening for stills but there seems to be no intel out there on motion. Anyone heard anything?

 

Since it has been around for a while, there are a ton of tests from the Alexa Classic and, on eBay, those cameras can be had for not too much more than a new Ursa 12k. My question is if it is still a safe bet in 2021? I am doing this for shooting my own projects and maybe for some friends/colleagues in education if they need corp. videos or whatnot.