Tim Tyler

Congratulations to James Friend! WINNER James Friend - ALL QUIET ON THE WESTERN FRONT NOMINEES Darius Khondji - BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS Mandy Walker - ELVIS Roger Deakins - EMPIRE OF LIGHT Florian Hoffmeister - TÁR

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. Filmmaker Magazine has also published a in-depth interview with Chayse. Here's an excerpt: Filmmaker: You shot Blonde digitally and God’s Creatures on 35mm. How did you choose the format for each? Irvin: It was tricky on Blonde because I do this thing I call woodshedding. It’s a jazz term where you isolate yourself and come up with harmonic devices that take you out of the ordinary and keep them in your pockets so you can pull them out during a set. I was developing a bunch of ideas like that to use in Blonde. I would shoot black and white film, Double-X and then Vision 3, and I felt like that recreated certain images from her life more authentically. However, when we got into the real nitty gritty of getting the shoot done, one of the challenges was Marilyn’s dialect. We wanted to protect Ana [de Armas] and give her the chance to support the film and the dialect by shooting extended takes. I think the choice [to shoot digitally] came out of that. Also, Andrew had done some episodes of Mindhunter, and he felt more trusting shooting video after that than he had in the past. So, I think Andrew and I did conflict on [of film versus digital]. In the end, Andrew requested what’s called a “Pepsi Challenge,” where we shot Alexa, Sony VENICE and a little bit of film, and we viewed those tests in a theater. No one knew which footage came from which camera except me, and the VENICE is the camera we ended up selecting [for the color portions of the film]. Cinematographer Chayse Irvin and Ana de Armas as Marilyn Monroe. Cr. Matt Kennedy / Netflix © 2022 Here's an excerpt from the Cinematography World article: After extensive testing, supported by Panavision, Woodland Hills, and the company’s lens guru Dan Sasaki in particular, Irvin selected Panavison PVintage lenses, which are based on Panavision Ultra Speed lenses designed in the 1970s, paired with the Sony Venice camera, for the movie’s colour sequences, and ARRI Alexa XT B&W for the B&W portions. He also added H-series sphericals, built with vintage glass and coatings, that have soft roll-off in the image and emphasise skin quality, to his optical mix. “During testing, we did a Pepsi blind-challenge for Andrew between different lenses and large format cameras,” Irvin explains. “When we screen the tests Andrew developed a particular connection to the PVintage lenses as they had a certain fragility, where the image was sort of falling apart, and helped to evoked the period as well as the emotion. They are very forgiving on skin and skin pores when shooting large format, which meant I did not need to resort to softening the image using filters on the many close-ups in the film. “On a practical level, the front diameter on the PVintage glass is consistent across the focal length range, so you can use the same matte box, and the smooth mechanical performance is really helpful for the focus pullers. “The nature of those tests, in interior and exterior settings, natural and artificial light, was really informative as regards the camera choice. Things like the ISO settings and ability to ride the exposure via the internal NDs on the Sony Venice revealed that it was way faster at helping us to react to things as they were happening. Blonde, behind the scenes, Ana de Armas (Marilyn Monroe”), Chayse Irvin (Cinematographer), Cody Jacobs (Gaffer) Cr. Matt Kennedy / Netflix © 2022

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.

Source: KODAK https://www.kodak.com/en/motion/blog-post/nope Hoyte van Hoytema FSF NSC ASC "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. "But nature at night is very special and interesting. As we stood there, and our pupils dilated, we started to notice very fine details in the mountain ridges and the expansive presence of the space around us and thought it would be great to capture that essence in the film. "Of course, we could have shot traditional day-for-night, but that has its limitations because you must have the sun exactly in the right place, or we could have tried greenscreen and CGI, but even then, the results can look kind of fakey." Accordingly, Van Hoytema casted his mind back to some of his previous challenges and, with an inspired twist of creative thought, came up with a ground-breaking solution to shoot the night scenes and a pioneering new way of shooting day-for-night using a hybrid of film and digital. As he explains, "When I worked on Ad Astra, we encountered a similar problem when it came to shooting the lunar battle/chase/action sequence with Moon Rovers in Death Valley, and our inability to light up a big area with a single light source. We needed to cover enough distance to be able to shoot the chase, but soft light or double shadows from any sources would have been an awful giveaway. "So with the help of my friend, Kavon Elhami, who runs a camera house, we purchased two decommissioned 3D-stereo camera rigs on which we could mount two cameras. One was an ARRI Alexa, specially customized to capture infrared, the other a regular 35mm film camera. Instead of lining-up the cameras for 3D parallax, we found a new way to align them so that both cameras were shooting the exact same image – one infrared, the other on film – so that every frame would overlay perfectly later in postproduction. “The infrared camera is only sensitive to a very specific wavelengths of light and the images are monochromatic. When you shoot in natural sunlight, with a slight contrast boost, it results in images that are brightly lit, however, the skies are dark. The 35mm camera contains all of the vital color and texture information. In the perfect composite of the two images in post-production, the desert resembled the lunar surface. That meant we got close to the lighting character on the real moon. “So for Nope, I had the idea of scaling up that same kind of rig and using it to shoot our day-for-night scenes in broad daylight – but this time using an ARRI Alexa 65, pointing upwards vertically and shooting in infrared mode, in perfect alignment with a Panavision System 65mm film camera, which was on the horizontal axis. “However, it’s vitally important that the different gates and lenses are identical, that you have exactly the same depths-of-field, that your focus pulls translate in exactly the same way, and that the two images are completely in-sync.” As part of his quest in creating the new day-for-night rig, Van Hoytema necessarily visited Panavison in LA, as the company owns and maintains the small number of existing 65mm cameras. "During the development and test phase we worked with Dan Sasaki, the magician at Panavision, who can build whatever you want, based on his understanding of physics and what is needed artistically," says Van Hoytema. "He made sure the twin sets of Panavision Sphero lenses we used were tuned to be identical in their performance." Development of the specialist rig required a close cooperation between ARRI, Panavision, Van Hoytema and his own development company, Honeycomb Modular, in what he describes as "a beautiful collaboration between amazing people at amazing companies, to solve one person's obsession to do something a little weird and nerdy." "In the early stages, we took a rather shabby-looking prototype rig, held together with screws, cable ties and gaffer tape, out into the desert to shoot tests. My DIT, Elhanan Matos, is not your standard DIT, and when we do new technology like this, he's all over it. He helped in getting the two-camera synched up, and although the video taps on the 65mm camera remain poor, he gave us a good on-set approximation of what the final image would look like. "We then liaised with my DI colorist Greig Fisher at Company3 in LA, mixing those two sets of images together, and the result looked to me like an entirely plausible-looking night. In fact, using this technique you can peer much deeper into the dark expanse than we had done before on Ad Astra. And, after additional lighting effects were added in VFX, our night scenes really came alive. When you sit in the cinema, especially in an IMAX theatre, and you look around the image it’s a very, very special immersive experience." The production-ready day-for-night camera rig proved to be a sizeable, weighty and somewhat unbalanced lump, and it still needed to be motivated for visual storytelling purposes. "We didn't want to be limited in terms of how we would move the rig around," says Van Hoytema. "So I worked with Dean Bailey and his team at Performance Filmworks, to work out how it could be adapted to fit on their various gyro-stabilized Edge cranes vehicles. I’ve worked with them before on Tenet and Dunkirk, where their vehicles had to drive over extremely rough terrain, and I had the same ambition to put this rig through equally rough stuff. "They worked really hard to adapt their stabilized head for the rig, and all-of-a-sudden, we had the ability to drive everywhere – we could follow running horses and shoot other dramatic action scenes. It became a wonderful, crazy tool that was capable of giving us shot after shot that you might have thought were impossible and probably have never seen before." As for the ramifications for other filmmakers, Van Hoytema says, "I think it's something that can, and probably will, be used more and more. Right now, through Honeycombe Modular, I am developing a new device that will enable you to use just one lens for two cameras, meaning that the rig can be much smaller, and any lens artefacts translate into both formats making post easier."

NBC / Universal publishes a fairly detailed page of discounted pricing and policies for media bags on various airlines. https://travel.nbcuni.com/accordion/airline-media-bags-pricing

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. https://www.cined.com/arri-alexa-35-lab-test-rolling-shutter-dynamic-range-and-latitude-plus-video/

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. Featuring commentary from: @Claudio Miranda ASC - Director of Photography David B. Nowell, ASC- Aerial Cinematographer/Team5 Michael FitzMaurice- Aerial Cinematographer Kevin LaRosa- Aerial Coordinator/ Lead Camera Pilot

NOPE BTS https://www.youtube.com/watch?v=_dsvj6BvhJk

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). https://www.womensweekendfilmchallenge.com/ 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. This will be the organization’s fifth film challenge, and the first since the pandemic forced productions across the country to shut down. To date, WWFC has held four film challenges — three in NYC and one in LA — and worked with more than 700 female filmmakers to produce 30 short films that have been screened at more than 90 film festivals. “We are so excited to once again be hosting the Women’s Weekend Film Challenge to provide a diverse group of talented filmmakers with the opportunity to tell their stories on screen,” Sayre said. “Many creative relationships have been fostered through our four previous challenges, and the results — 30 expertly crafted short films — prove there is no shortage of skilled women in every role of production.” This summer, women and nonbinary filmmakers will be placed on teams to write, shoot and edit a short film in just one weekend. It’s free to apply to and participate in the challenge, and the organization provides top-of-the-line equipment, workshops and more. Organizers are expecting more than 1,000 applications and will select about 200 participants. The challenge weekend will take place Aug. 11-14. Filmmakers in every role of production — from gaffers and sound mixers to writers and actors — can apply between June 1 and 27 to participate in the challenge. WWFC enlists the help of guest judges to thoroughly review each application. This year’s judges include cinematographers Nancy Schreiber, ASC, and Carmen Cabana; casting director Adrienne Stern; and filmmakers Anna Sang Park, Annie Sundberg, Danielle Eliska and Mahak Jiwani. WWFC then places accepted individuals onto crews in order to ensure that each team has the talent necessary to make a stellar short film. Top-of-the-line equipment, software, production insurance, production stipends and film festival submission stipends are provided courtesy of WWFC and its sponsors, including Zeiss, Sony, ARRI, Cinelease, Gotham Sound, Casting Networks and Final Draft. Participants will meet their fellow crew members for the first time during a pre-production meeting at CarStage in Long Island City in early August. The film challenge kicks off on Thursday, Aug. 11, when organizers will pick a genre out of a hat for each team and announce a prop that all films must incorporate. Teams will begin writing their scripts that evening and will have until Sunday, Aug. 14, at 11:59 p.m. to submit the completed film. “While progress has been made to combat gender imbalance in the film industry, more work must be done to achieve equity,” Medoff said. “Participants will finish the weekend not only with a highly professional short film but also with a broad network of motivated, talented women.” WWFC will host a premiere screening of the films in late August at Village East in Manhattan. Participants will network with each other and other industry members at an afterparty. Experienced, NY-based filmmakers in every role of production and post-production can apply to the upcoming challenge for free by visiting womensweekendfilmchallenge.com. The deadline to apply is June 27. About Women’s Weekend Film Challenge: Women’s Weekend Film Challenge (WWFC) works for gender equity by creating opportunities for women to bring their leadership, talents and stories to the forefront of the film industry. WWFC places professional filmmakers on teams to write, shoot and edit a short film in just one weekend, creating intensive networking opportunities while helping filmmakers to bring women’s stories to the screen. Since its first challenge in January 2018, WWFC has worked with more than 700 women to produce 30 short films, which have been accepted to more than 90 film festivals. When COVID-19 upended productions, WWFC established a popular virtual workshop series featuring Hollywood powerhouses, such as Elle Johnson (co-showrunner, "Self Made"), Kasi Lemmons (writer/director, "Harriet"), Catherine Hardwicke (director, "Twilight"), and Alma Har'el (director, "Honey Boy"). In 2021, WWFC launched a pilot accelerator designed both to help emerging writers advance their careers and to increase the representation of women and nonbinary people in television. The fellows received three weeks of industry training before pitching their scripts to HBO, Netflix, Comedy Central, Warner Bros., and more. -- Katrina Medoff and Tracy Sayre, Founders of Women's Weekend Film Challenge

B&H's video with ARRI's Günter Nösner talks a little about the Alexa 35's application of noise reduction.

Film and Digital Times ALEXA 35 Camera Report by Jon Fauer, ASC (Here's is Jon Fauer's Introduction on Film and Digital Times' comprehensive 90+ page report.) An ALEXA 35 pre-production test camera was delivered to the FDT office by ARRI’s Guenter Noessner on March 18. The result, 74 days later at camera launch, is this camera report of 96 pages. Initially, the June edition was planned with some pages of ALEXA 35 along with many other products that missed the April deadline. The page count kept growing, a massive Dickensian doorstop. And then, real world supply chain challenges arrived, and not only limited to semiconductors, copper, cars and aluminum. Paper deliveries, and ink for the paper this is printed on, dried up. But, that is not the only reason all 96 pages are monopolized by ALEXA 35. If you send a camera here three months before deadline, you know that it will be tried, taken out, taken apart, scrutinized and tested like a ship’s open water sea trial. Every angle and surface will be photographed with as much obsession as Col. Henry Charles Baskerville Tanner, the Victorian surveyorartist who mapped the Himalayas. Moreover, this was the first time a company has made available so many scientists, engineers, executives, product managers, designers, testers and planners to talk about their work in lengthy discussions. Usually a factory visit is a sweaty tour lasting a couple of days, punctuated by a few meetings of short duration. (By the way, “Sweaty Tours” was what film director Mel London called location scouting trips.) This time, it was Zoom that enabled so many fascinating, in-depth interviews. The new ALEXA 35 is like a film lab inside a digital camera. A film lab is an alchemy of permutations: chemicals, water, temperature, light and human temperament. Let’s forget the dreaded 3 a.m. call, “Oh sorry, the developing machine jammed with all your footage ruined inside.” ALEXA 35 is digital and fortunately doesn’t jam. And yet, ALEXA 35 offers many hitherto unobtainable digital possibilities that are reminiscent of an analog film process: textures, contrast, grain, sharpness. The digital camera is no longer just a lens onto which you put all kinds of different lenses to achieve unique looks. Now the camera itself returns as an instigator of looks, along with your good looks created by lighting, lenses, composition, art, planning and happy accidents. I never suspected that something Super35 was afoot at ARRI, not even several years ago when they kept asking why FDTimes was writing so fervently about Full Frame: “But don’t you think there’s room for a new generation Super35 camera?” I must have caused Franz Kraus great agida at Yamazato in Amsterdam one evening after IBC. It wasn’t the sushi, but rather my unknowing (about plans of a new camera) speculation and repetition of Jeff Allen’s observation that “old” 35mm would be relegated to productions that formerly were done in 16mm, while Full Frame would be the “new” replacement for high-end productions that previously shot on 35mm. Little did I know that ALEXA 35, or at least its sensor, had been in development for a decade or more. It turns out that a camera this interesting and good certainly provides ample room for both formats to continue to coexist salubriously. The 35mm format has been a universal standard ever since the Lumière Brothers projected Workers Leaving the Factory on December 28, 1895 at the Grand Café in Paris. Along the way, cinematographers have enjoyed a vast inventory of 35mm lenses, many of them still cherished and used today. As for ARRI, there has always been a historical affinity of separate cameras for different formats: 16BL and 35BL; 16SR and 535; 416 and 435 and 765. And now: ALEXA 35 for Super35—together with ALEXA Mini LF for Large Format, a.k.a. Full Frame. If someone told you, “The new ALEXA 35 has 17 stops of dynamic range, prettier images and better color, your inner DP instinct would most likely reply, “Great, but show me.” This healthy skepticism of verbal description—how ironic—is assuaged by viewing real and really good images. They’re here. ARRI’s series of Encounters films shot around the world by eleven talented cinematographers are online (arri.com) with frames and production stills beginning page 81. ALEXA 35 represents a new chapter in the hundred and five years of ARRI. I hope you enjoy the ALEXA 35 camera system as much as I did trying it and writing all about it. Read the full report here.

17 Stops of Dynamic Range! ALEXA 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. 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. ALEXA 35 measures at 17 stops of dynamic range (exposure latitude), far more than any other digital cinema camera. Filmmakers gain 1.5 stops in the highlights and a stop in the shadows over previous ALEXA cameras, while retaining the naturalistic, film-like highlight roll-off. Sophisticated stray-light suppression ensures that the full character and contrast range of each lens is captured. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, increase flexibility in post, and provide the best possible source for HDR (High Dynamic Range) projects. Impressively low noise and sensitivity settings ranging from EI 160 to EI 6400 make ALEXA 35 a “High ISO” camera. An optional Enhanced Sensitivity Mode can be applied to settings between EI 2560 and EI 6400, producing an even cleaner image in low light. This exceptional sensitivity, combined with the wider dynamic range and truer contrast, allows ALEXA 35 to capture the most delicate nuances of light and shadow in a wider range of shooting situations. Filmmakers can work with available light in real locations, safe in the knowledge that even at extreme ISO values, any noise will have a pleasingly film-like structure. Introduced alongside the ALEXA 35 is REVEAL Color Science, which is the collective name for a suite of image processing steps that, along with the new sensor, help the camera to record more accurate colors with subtler tonal variations. Skin tones of all types and colors are rendered in a flattering, lifelike way. Highly saturated colors such as those in neon signs or car brake lights are captured with incredible realism, as are typically challenging colors like cyan, burgundy, and pastel shades. Overall, the true-to-life color fidelity and amazing resolving power of the sensor make for beautiful, immersive images. ARRI Textures provide a new and unique way for cinematographers to exert greater creative control on set. A texture defines the amount and character of grain in an image, as well as the amount of contrast at different levels of detail, perceived by the viewer as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but with ALEXA 35 you can choose from an evolving menu of custom ARRI Textures, either to suit a specific shooting environment or to hone your look. This allows you to fundamentally alter the way the camera records images, much like selecting a film stock. With its Super 35 4:3 native 4K sensor, ALEXA 35 can be used with the vast global inventory of existing lenses—modern and vintage, anamorphic and spherical, Super 35 and large format. Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have an immeasurably broader lens choice. A total of 19 recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow productions to optimize data rate, resolution, and other parameters, based on their individual needs. Mixed Reality Productions (MRP) will benefit from the camera's ability to record lens metadata in all common standards and output real-time streaming metadata to ARRI's Live Link Metadata Plug-in for Unreal Engine. ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing. It includes an improved debayering algorithm for cleaner compositing, a new color engine for more accurate color reproduction, a new wide gamut native color space for faster grading, new LogC4 encoding to contain the increased dynamic range, and new LogC4 LUTs (Look Up Tables) for enriched color fidelity. ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body. Crews will be intuitively familiar with the simple menu structure; support for 1TB and 2TB Codex Compact Drives; and MVF-2 viewfinder, now with HDR. Fast and easy operation is assured through usability improvements such as a new left-side display and additional user buttons. Temperature resistant, splash and dust-proof, and conceived with future hardware and software updates in mind, ALEXA 35 is the best A-camera, B-camera, and drone or gimbal camera on the market, all rolled into one. ARRI has crafted a new line of bespoke ALEXA 35 accessories that expand the camera's capabilities and ensure maximum speed and versatility on set. Closely integrated electronic accessories offer additional power outputs or extended audio features. A complete new set of mechanical support items provides flexible options for any situation, scaling quickly and easily from a small and lightweight setup to a full-blown production configuration. ALEXA 35 is available in sales sets that group together components suitable for different shooting styles and production types, with further accessories and system options facilitating countless setups.

Here's a good place to start, Matt. https://www.amazon.com/shop/cinematographyforum/list/2C9LGBNKW7L9S

IMAX Corporation announced it has begun development on a new fleet of next generation IMAX film cameras — building on its more than fifty-year legacy of innovation to meet growing demand for its technology among a broader and more diverse group of filmmakers and artists. 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. The Company is working with the world’s most accomplished filmmakers and cinematographers, including Jordan Peele and Christopher Nolan, to identify new specs and features for the prototype development phase already underway. The next release filmed with the current generation of IMAX film cameras and KODAK 65mm film will be Jordan Peele’s “Nope”, hitting screens on July 22, 2022, while Christopher Nolan’s “Oppenheimer” is currently shooting with IMAX Film Cameras. “As IMAX grows as a global platform for entertainment and events, we want to offer more filmmakers, storytellers and artists the opportunity to create with our unrivalled end-to-end technology,” said Megan Colligan, President of IMAX Entertainment. “From our connected global network to IMAX Enhanced for the home, the IMAX Experience provides a more expansive creative canvas than ever, and these new film cameras will enable a new generation of creators along with those who already love working with the cameras a better way to unlock the power of IMAX.” “IMAX film brings images to life,” said Chris Nolan. “From resolution and color to sharpness and overall quality, there is nothing compared to using IMAX film cameras today. Filmmakers and movie fans worldwide should be thrilled at the prospect of new and improved IMAX film cameras – I know I am.” “IMAX is movie magic pushed to its limit,” said Jordan Peele. “When you see a film in an IMAX theater, it feels like you are there. It's complete immersion, and there's nothing quite like it. Shooting with the IMAX Film Cameras gave us a look and feel you can’t get anywhere else. And we are only at the beginning, there's still so much to be explored in this format.” New and improved features being explored for the new IMAX film cameras include a quieter design and a number of useability enhancements. IMAX’s existing fleet of cameras and lenses are also undergoing major upgrades as part of the program. Several industry partners are also joining IMAX in the initiative to strengthen the global and future support of its film cameras: Kodak will offer enhanced technical support and manufacturing of the 65mm film stock. Panavision will continue to provide a global network of service and maintenance for IMAX camera productions worldwide along with new tools and technical support for the cameras. FotoKem will work alongside the IMAX camera and post-production departments to improve production workflows and coordinate lab and post services.

Shaping Light for Video in the Age of LEDs: A Practical Guide to the Art and Craft of Lighting 2nd Edition by Alan Steinheimer A must-have resource for film and media production students taking classes in lighting and/or cinematography. https://amzn.to/3hUBTkA A practical, hands-on guide to lighting for video, this book explores how LEDs are changing the aesthetics of lighting and provides students with an indispensable guide to the everyday techniques required to produce professional-quality lighting in the age of LEDs and wireless control options. The book focuses on first-hand application of technical knowledge, beginning with simple lighting setups and progressing to more complicated scenarios, and features accompanying diagrams, illustrations and case studies to demonstrate their real-world application. Key topics covered include basic three-point lighting, lighting moving actors, set lighting and exposure, instrument selection, bringing style to your lighting, color temperature and the Kelvin scale, exterior lighting, lighting categories and genres, green-screen techniques, money and budgeting, and electricity and electrical distribution. The book also provides guidance on career paths including what a grip does, case studies with photos and diagrams, and an extensive glossary of set terminology to introduce students to the language of filmmaking.

https://www.hollywoodreporter.com/movies/movie-news/roger-deakins-knighted-windsor-castle-1235085883/ 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.

Done 🙂

For that particular client I'd suggest you double your PA rate, at least for a short while, and see how things go.

Cinematography.com sends our deepest thoughts and condolences to the family, friend and colleagues of cinematographer Halyna Hutchins. Santa Fe New Mexican news article By Victoria Traxler: The director of photography for the feature film Rust, Halyna Hutchins, 42, died at University of New Mexico Hospital in Albuquerque, and director Joel Souza, 48, was taken to Christus St. Vincent Regional Medical Center, where he was receiving emergency care, the sheriff’s office said. Baldwin is one of the film’s stars as well as a producer. He went to the sheriff’s office willingly and provided a statement to investigators, sheriff’s office spokesman Juan Ríos said. “We’re treating this as we would any other investigation,” Ríos said, adding deputies were still trying to determine whether what happened was an accident. The Santa Fe County Sheriff's Office responded to the scene of a fatal accidental shooting at a Bonanza Creek Ranch movie set Thursday. The prop was fired at Bonanza Creek Ranch, where filming was underway, the sheriff’s office said in an early evening news release. The set was locked down while deputies began their investigation. Attempts to get comment from Baldwin outside the sheriff’s office were unsuccessful. The state film office and the Santa Fe Film Office declined to comment. Deputies were investigating how the incident occurred and “what type of projectile was discharged,” the sheriff’s office said in a release. In a statement, Rust Movie Productions said, “Production has been halted for the time being” on Rust and that “the safety of our cast and crew remains our top priority,” according to Deadline.