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Seems folks always beat me to posting the interesting stuff, but I'll keep drip feeding these as I think they're terrific and super candid. Rest is copied from the video's description: FEATURING SCENES & COMMENTARY ON - Blood Orange, Dazn, Ferrari, Adidas, Gatorade, Bose, NFL, Asics, Dazn, Michelob, Nemiroff, Tommy Hilfiger, Victoria's Secret and more. In our fifth episode, cinematographer Garrett Hardy Davis chats about the competitive new world of shooting remotely, where to find inspiration, how he got into the film industry, starting a career as a director of photography and
WASHINGTON, D.C. -- Academy Award nominee and “American Sniper” cinematographer Tom Stern will appear in a conversation at NAB Show, which takes place in Las Vegas in April. The session, “Heroes, Legends and ‘American Sniper’: A Conversation With Tom Stern” is the Keynote Presentation of the Creative Master Series (CMS) and is produced in partnership with the International Cinematographers Guild (ICG) Local 600. It is scheduled for Tuesday, April 14, 1:45 – 2:45 p.m. This one-on-one conversation will explore the career of Oscar nominee Tom Stern, whose close association with Clint Eastwood ha
Hi all, I'm shooting a feature in Cape Verde this feb-march and although I've shot in Africa before (Burkina Faso & Zim), never a feature and at this level. Just wondering if anyone has any pointers on obvious issues and possible solutions to them? The whole shoot will be in a city with (albeit limited) access to power. Apart from the obvious issues of travel, accommodation, food & drink etc. the main issue we'll face is the light - top sun, dark skin tones, literally no golden hour (I think we'll be at around 17 degrees north), dark as death during the night, restricted access