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Found 54 results

  1. For Sale Pre Owned Phantom FLEX4K ULTRA 64GB Color Camera W/ PL Mount & CINEMAG IV 2TB Asking $98,000.00 Comes with 1-Phantom View Finder (OLED with Bracket) Images Phantom 4k Flex Package 1-VRI-BATT-MNT-AB Battery Mount, Standard Anton Bauer Gold Mount for Flex4K 1-Anton Bauer QR HOTSWAP AN-QR-HOTSWAP SHARKFIN -AR Snap-On Hot Swap for ARRI Alexa Camera 1-C400 Cine-Style Riser for Phantom Flex 4K Arri Dovetail 12” Arri Bridge Plate BP-9 Set Short (15mm Rods) AR-339862 Phantom 4K Flex BNC TRIG/TC/AUX Onboard Breakout Box Trigger Pickle Switch – VRI-TRIG-PIC CINEMAG IV 2TB CineMag IV 2TB CineMag IV Phantom 100 foot Custom Loom 1650 Pelican Case 4-100 FT BNC 1-100 FT Phantom PCU Cable 1- 100 FT Phantom Fisher to Ethernet Cable Phantom 4k Flex Package CINESTATION IV CineStation IV Cinestation IV Power Supply Osha Cable ATTO ThunderLink NT 1102 (10GBASE-T) – ATTO-TLNT-1102- 10Gb/s ThunderboltTM (2-port) to 10GbE (2-Port) Desklink ATTO ThunderLink Power Supply Osha Cable Thunderbolt cable - AP-MD861ZM/A Apple - mini-DisplayPort (M) Thunderbolt cable - AP-MD861ZM/A Apple - mini-DisplayPort (M) - mini- DisplayPort (M) - 2 m 5 Pocket Equipment Bag Pelican Storm Case 2450 Innerspace Custom Foam Insert for Phantom CinestationIV, ATTO Thunderlink, CinemagIVs, and AKS to fit in Pelican Storm iM2450 case - CAT6A Shielded Patch Cable Blue 3ft. - 2 CO-CAT6A-3BLU* Glue Tools Software License Cables Arri ALEXA 12V Accessory Cable to 4-Pin XLR KC 154-SP-S Thunderbolt cable - mini-DisplayPort (M) - mini- DisplayPort (M) - 2 m 2-Phantom Flex 4K 12V Pigtail – AB-P4K-XLR4-12V Pamona HDSDI Shorty BNC with Coiled Shorty Power Hirose 4-Pin Breakout Cable, Capture For MIRO M Series, Trigger, READY, IRIG-IN, IRIG-OUT, VIDEO, Power, AUX - 1 VRI-2MA5017-01 2-10 Meter CAT 5 Ethernet Cable for Phantom 4k FLEX 5 Meter CAT 5 Ethernet Cable for Phantom 4K Flex 2-XLR3 to XLR3 Power Cable – 10' – AB-XLR3-10 PCU 25' 5-Pin Controller Cable – AB-PCU-190-25 PCU 2' 5-Pin Controller Cable – AB-PCU-190-2 PCU 5' 5-Pin Controller Cable – AB-PCU-190-5 CAT5E 25' RJ45 to RJ45 HDSDI 2' BNC LapTop Macbook Pro 15” Macbook Pro AC Power Adapter Macbook Pro AC Power Adapter OSHA extension Apple Thunderbolt to Gigabit Ethernet Adapter ADDITIONAL ACCESSORIES (AKS) 24v Power Supply - AB-PWR-SUPPLY -221W-24V 221W 24v Power Supply 221W / 24v Power Supply AB-PWR- SUPPLY – BACKUP OSHA for 24v Power Supply Vision Research Camera Control Software Printed Manual OSHA – BACKUP REMOTE CONTROL Vision Research Dongle II, Phantom HD/65 Bluetooth PCU2 Tenergy Power Package - AB-PCU-280 WD Soft case for Power Package USB 2.0 A type to Mini-USB PCU2 Control Unit for Phantom - AB-PCU-200 SNAPR Soft case for PCU2 HTC AC to USB Adapter USB 2.0 Type A to Micro USB Neutrik RJ-45 to RJ45 Coupler HP 17” Backup Laptop Windows 8 HP 17” Power Adapter CASES Phantom 4K Flex Innerspace Grey Hard Case – w/wheels and handle 1600 Pelican Case 1020 Pelican Micro case for Vision Research Bluetooth Dongle 5 Pocket Equipment Bag 5 Pocket Pouch (Backup AKS)
  2. I'm relatively new to drone (18 months) but have found that once you have learned the controls it simply becomes another "tool in the box", another way of placing your lens in different or unusual places. I have a passion for landscape and enjoy trying to tweak the HLG (HDR) format to its full potential. Still learning but enjoying the ride. https://vimeo.com/335046212
  3. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.
  4. RED Digital Cinema® will present a Masterclass featuring Oscar®-winner Guillermo Navarro, ASC at the upcoming BSC Expo in London. Navarro will be discussing his approach to cinematography in the digital age during the seminar that will take place Saturday, February 2, at 16.00. BSC Expo 2019 runs Feb. 1-2 at the Battersea Evolution. Navarro won the Academy Award® for Best Cinematography on Pan’s Labyrinth. His impressive credits also include Desperado, From Dusk Till Dawn, Jackie Brown, Hellboy, Night at the Museum, and Pacific Rim, among many others. He has worked in Hollywood since 1993 and is a frequent collaborator with Guillermo del Toro and Robert Rodriguez. Born and raised in Mexico City, Navarro was a still photographer in his native country before segueing into shooting documentaries and commercials, and directing television. Most recently, he completed principal photography on The Voyage of Doctor Doolitle, slated for release in 2020, using the RED HELIUM 8K S35 sensor. Over at Stand 334, RED will showcase its latest sensor technology, including the MONSTRO® 8K VV and GEMINI® 5K S35. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. GEMINI leverages dual sensitivity modes to provide creators with greater flexibility using standard mode or low-light mode. RED will also demonstrate a real-time 8K workflow using a new REDCODE RAW SDK powered by the NVIDIA QUADRO RTX 6000 GPU. By offloading the compute-intensive decoding and debayering of REDCODE RAW footage onto a single NVIDIA GPU, real-time play back, edit and color-grade of RAW 8K footage is possible. Additionally, RED will display its newest accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides an intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. The DSMC2 PRODUCTION MODULE mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount (DSMC2® Gold Mount will be available soon) and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It’s also available as a kit.
  5. Hi Everyone. I am new to this website. My name is Tayyib Mahmood and I am a film student at Birmingham City University. I am writing a dissertation on a comparative analysis between LED and Tungsten Lighting and I need of a few interviewees. This can be done over video call (Skype). I am in need of anyone with industry experience who would like to give me their opinion on Tungsten and LED lighting and which would be dominant within the upcoming years. Thank you, Tayyib
  6. The American Society of Cinematographers (ASC) is now taking submissions for the television competition of its 33rd Annual ASC Awards for Outstanding Achievement in Cinematography. The event, which will also salute the organization’s 100th anniversary, takes place February 9, 2019, at the Ray Dolby Ballroom at Hollywood & Highland, and winners will be announced in all categories. Three categories comprise the TV awards: • Episode of a Television Series – Commercial (half hour and one hour) • Episode of a Television Series – Non-Commercial (half hour and one hour) • Motion Picture, Miniseries, or Pilot Made for TV The deadline to enter is November 5 by 5 p.m. (PT). To qualify, shows must have a premiere broadcast date in the United States between November 1, 2017, and October 31, 2018. Entry forms can be downloaded at here on the ASC website. In addition to the TV awards, the ASC gala in February will recognize the year’s best feature film cinematography, as well as lifetime honorees. For a complete timeline of the 33rd ASC Awards, visit this link.
  7. Hi, I’ve recently uploaded my showreel and website. Would be interested to hear some creative feedback and thoughts. Thanks. Best, Hal halrobertson.com
  8. Panavision, the entertainment industry’s leading designer, manufacturer and rental provider of high-precision optics and camera systems, has named Zoe Iltsopoulos Borys to lead the company’s Atlanta office as vice president and general manager. Borys will oversee day-to-day operations in the region, and ensure Panavision’s customers continue to receive the highest level of service to support their production needs. “Zoe is a respected partner to the cinematic community and we are pleased to have her on the team at Panavision,” said Michael George, Panavision’s chief operating officer. “Her understanding and familiarity with the needs of our customers will be an invaluable addition to our presence in the region. Filmmakers can be confident that they will continue to receive our superior service, along with our innovative Panavised camera systems and premier lenses.” Borys’ 25 years of experience in the motion picture industry includes business development for Production Resources Group (PRG), and general manager for Fletcher Camera and Lenses (now VER). This is her second turn at Panavision, having served in a marketing role at the company from 1998-2006. Throughout her career, she has been responsible for bringing innovative technology to the creative community, empowering them to bring their vision to the screen. She is also an associate member of the American Society of Cinematographers. Panavision’s Atlanta facilities, located in West Midtown and at Pinewood Studios, are the largest suppliers of camera rental equipment in the southern U.S., with a full staff of prep technicians and camera service experts. The Atlanta team has provided equipment and services to productions such as Avengers: Infinity War, Black Panther, Guardians of the Galaxy: Vol. 2, The Immortal Life of Henrietta Lacks, Baby Driver, and Pitch Perfect 3, among others.
  9. Hey guys! Please check out The Ultimate Anamorphic Lens Test where we tested 13 brands, 40 lenses and created over 500 tests and 130 4K videos. You can compare them all in our 4x side-by-side viewer here. Brands tested include: Angenieux Optimo 44-440mm T4.5 AS-2 Anamorphic Zoom ARRI / Zeiss Master Anamorphic Atlas Lens Co. Orion Series Anamorphic 65mm T2.0 Cineovision Anamorphic Cooke Anamorphic /i Special Flare Elite Anamorphic Hawk V-Lite Vintage `74 Anamorphic Iscorama Pre-36 Anamorphic Lens Adapter Kowa Cine Prominar Anamorphic Lomo Round-Front Anamorphic Panavision Auto-Panatar Anamorphic P+S Technik 35-70mm T3.2 Cinemascope Zoom Todd AO High-Speed Anamorphic Hope you enjoy it. Please let me know if any questions!
  10. Long story but I just heard about this song tonight. When looking for the song, I stumbled across the video. I am rather impressed with how Guy Ritchie shot this. I also see it caused quite an uproar in its heyday. My question: Does any of you cats know the cinematographer? Anyone here work on this? I know it was shot in parts of LA.
  11. Hey everyone, please take a look at the showreel on my website and let me know what you think! www.oliwilliamsdop.com Many thanks, Oliver Williams
  12. WRITER/PRODUCER/VISUAL DESIGNER SEEKING DIRECTOR OF PHOTOGRAPHY WITH HER/HIS OWN EQUIPMENT WHO CAN EDIT AND PRODUCE — TO PARTNER ON PRODUCTIONS Hello everyone! Thank you, in advance, for taking the time to read my post. If it interests you I look forward to hearing from you... if it doesn't then I simply wish you amazing success on all your projects. I cheer for everyone to get their TV and film projects made! Okay...I'm a writer and producer, and a visual designer. I have multiple completed feature scripts and many more ideas/treatments. I have an open invitation for a pitch meeting with an Emmy winning TV producer who has produced hit after hit. I have received extremely positive feedback and praise on my feature scripts from other producers, known/recognizable TV actors, as well as Emmy nominated writers. Here is an excerpt from my recent thriller script feedback from one Emmy nominated writer who is also a director and a Sundance Grand Jury Prize nominee: " It’s a really well done story and has a lot of box office potential ... It is often thrilling, suspenseful, and downright creepy — all ingredients you need in this genre. You have built a world that feels authentic and isolated, which helps enormously. I think audiences who love to be scared will eat this up. " I quoted them only to assure you that I can write well, as I know you don't want to waste your time anymore than I do. In addition to good feedback I was recently recommended to a lit agent by a couple of producers to be the screenwriter for the adaptation of an autobiographical book about a highly publicized national story. There are many projects I want to develop and shoot, but I need the right partner with whom I can grow with, someone with talent, a similar mindset, and equipment who can shoot and edit, and produce as well. I'm seeking someone who is extremely serious and 0% flaky. I have low budget, low-mid budget, and no-budget feature film projects we can discuss, reality TV projects, even YouTube possibilities. A few are pretty ready to go, some need more development, and many are just loglines or ideas we can build out. I co-produced a feature film (2010) that won a few festivals and had a small theatrical release before going on to its TV release. I have many years in the industry/LA and know some indie directors, distributors, DPs, producers, Emmy nominated writers and EPs, hair & makeup keys, production designers, other great crew, etc. I have good instincts, can think creatively in the moment, have ideas on how to structure funding to shoot, and am excellent at casting as I know what good acting looks and sounds like because I was conservatory trained and acted professionally in the past. In addition I have a B.A. in graphic design and have years of professional experience in NYC, DC, and LA designing posters, one-sheets, brochures, logos, etc. so we'll never have a one-sheet that looks like someone's dog made it in Microsoft Word. I am seeking someone who wants to commit to a real partnership of collaboration and focus on making product that will be captivating and commercially successful, and have a lot of fun as we go. If this sounds like the partnership you are looking for and you are a talented Director of Photography with your own equipment who can edit and produce, please send me an email with a little bit about yourself as well and a link to some of your work. Thanks for reading and for your consideration. I'm looking forward to getting projects DONE! :) EMAIL ME AT THE FOLLOWING EMAIL ADDRESS: partner2produce@gmail.com
  13. Hey guys, I'm a DP in LA but I also founded a company called ShareGrid, where filmmakers can rent gear to each other with integrated insurance. For our blog, I host interviews with filmmakers from our community about their experiences and we just recently released our newest series with DP, Jas Shelton (Keanu, Togetherness, The Stanford Prison Experiment). VIDEOS https://www.youtube.com/playlist?list=PLaCcqdDN6m8F1evAkIl54Bz-ZTsw-7Fqc I would love for you guys to check it out. There's some valuable insight as Jas talks about how he became a DP out of film school, shooting with the Duplass Brothers, managing a crew, having a positive attitude on set and his visual strategy on his newest feature, Keanu (Key and Peele). I hope everyone enjoys the series and finds it helpful!
  14. Sean Porter says some really interesting things about 'beating up' the digital image, to sort of pull out that natural grain, and to give it some character. What do you think? Interview here. http://www.cinelinx.com/interviews/item/9323-sean-porter-d-p-of-green-room-on-adapting-for-the-narrative.html
  15. " P I G S " Filmed in 35mm Eastman Color by Glenn Roland Director of Photography/Cinematographer New 2k DCP Restoration was Screened at Cinefamily Silent Movie Theatre on March 12, 2016. Out on Blu-Ray from Vinegar Syndrome - March 29, 2016 Director of Photography Glenn Roland is available worldwide for hire to film Motion Pictures, Television and Television Commercials. For Booking Call: (310) 475-0937 ENJOY THE HORROR! :o
  16. Just wanted to share a short film I was the Cinematographer on. The whole project was completed from start to finish in one month and a half, given our time frame I'm happy with the short film. I've been privilege to meet some great people, the whole thing was based here in Seattle. Camera: BMCC 2.5k RAW Lens: Rokinon 17mm 2T and the Sigma 18-35mm Art 1.8 Edited: Final Cut X Colored: DaVinci Resolve 12 Although it's in another language and sometimes hard to understand; it was a crazy fast experience, I'm very glad to have worked on it. I've worked on lot's of Bollywood Productions in LA and Las Vegas back in the day as a PA. Particularly "My name is Khan" It's funny after all those years I'm now involved in an indie Bollywood Production. I hope you enjoy it... Please, I'd love to get some feed back on the Cinematography of the short. I wan't to improve and get better. I'd like to know any constructive feed back on things. The last night scenes of the movie were shot on available light, no bounce or anything... It was also our first days of the shoot and we were still not up to speed on things. I think some of those suffered the most. **there are some shots one or two that were shot on the BMPCC with a very bad soft lens and they unfortunately made it in the film, also some weird artifacts from shooting in the night in really low light at the very end of the movie.** smile emoticon
  17. Hello all, I am in my final year of studying film production and I am currently doing research about cinematography and color grading. I am trying to find out more about the collaboration/ workflow between the DP and the Colorist and the issues regarding the authority over the look. I am also looking into whether new, aspiring cinematographers should be their own colorists. I was wondering if you could please share your opinions about this from your experiences so far. As a Cinematographer, how were your collaborations with Colorists ? (and vice-versa). What can DPs/Colorists do to ensure they can work together successfully? If you are working both as a Cinematographer and a Colorist, why did you choose to have both roles and how difficult was the transition from cinematography to color grading? Your help would be much appreciated!
  18. Hey Guys, I'm an aspiring cinematographer and I am wondering how best to spend my money to invest in this field. At first, I was dead sent on buying on new camera (looking at the A7s II or the Ursa Mini); however, I have now begun to consider investing in lighting equipment, and opting to rent a camera whenever the need arises. Basically I'm torn: For $3,000 I could buy just a camera body, or I could get an Arri lighting package (x2 150w, 300w, 650w, 1k) and two 4' 2-bank kino lights w/ ballasts off of Ebay. My questions are: Can anyone provide insight into what would be the best and most beneficial course of action? I also have another question based off of the Kino lights: is the output of a 4' 2-bank Kino the same as the output of a 2' 4-bank Kino? What are the benefits to either or? Lastly, is there a better investment I could make that isn't a camera or lighting equipment? Thanks again, and any insight will be greatly appreciated! -Sam
  19. Hello all, I am doing cinematography for a friend's film, and I was contacted by a local camera operator who was interested in working on our set. Coming from sets with a minimal crew, I'm used to operating a camera by myself when doing cinematography, so this is going to be a first time thing for me. As I'm new to this process, I wonder -- how does the relationship between a DP and a camera op go? I understand DP's will sometimes take the camera to get the shot they want, and therefore trade off with the camera op on-set, but my question is directed more towards pre-production meetings and such. For instance, are there any meetings that are meant to take place between a DP and his operator prior to arriving on-set? And if so, what exactly gets talked over? As a side note, I have yet to meet this local camera op in person. Thanks, John
  20. Hello all, I just recently posted a DP reel that combines a bunch of my 2nd Unit work. I'm waiting for a few new movies to come out before I can add to it, but this is what I have for now. Would love to hear what you guys think. Happy shooting, everyone! Neil Moore Cinematography Reel - TRT 2:00 --Neil Moore Director of Photography - www.ShootingFilm.com - IMDB
  21. Hi! I'm meeting an agent tomorrow and I wonder if this forum has some suggestion when I meet him, what should I make clear from the beginning? Thanks!
  22. Guys, I have a proposal to follow each other's instagram to look what are we doing, to share with each other our impression and our passion in images. Just write in this Topic link to your instagram. Let's be in touch. My instagram: instagram.com/d.mulenko
  23. WHAT: 2015 Cine Gear Expo ACES Panel WHEN: Saturday, June 6th, 10:15 to 11:30AM WHERE: Sherry Lansing Theater, Paramount Studios DESCRIPTION: After years of research and development, ACES 1.0 has arrived. ACES enables DPs and directors to preserve the on-set creative intent and carry it into dailies, editorial, VFX, the DI and on into archiving. It does this, in large part, by addressing many of the long-standing color management issues facing today’s productions. Hear from hands-on filmmakers and technologists how ACES came into being, why it is important and how it impacts the creative and practical production process. Gain insight into how ACES can help simplify workflows, solve color reproduction issues on a wide range of displays, facilitate the integration of footage from multiple camera models and lenses, and provide a single color management standard. PANELISTS: Curtis Clark, ASC - director of photography; chairman, ASC Technology Committee; recipient, AMPAS Scientific and Technical Achievement Award (ASC-CDL); recipient, ASC Presidents Award Theo van de Sande, ASC - director of photography Award; nominee, 2014 ASC Award (“Deliverance Creek”) Bobby Maruvada - digital imaging technician and colorist John Daro - digital intermediate colorist, FotoKem (“Deliverence Creek”) Ray Feeney - ACES Project Committee co-chair, AMPAS MODERATOR: Mark Weingartner – VFX director of photography; chair, ICG National Training Committee; member, ASC Technology Committee Presented by ICG and ASC Technology Committee, in cooperation with the Academy of Motion Picture Arts & Sciences
  24. Hey! I'm Marco TOMA Tomaselli italian up and coming cinematographer now based in Los Angeles. I got an offer to work in a big union show as AC and because I'm new to the union's world I got some question that I not found answers yet. I'm applying to IER first but I'm not sure how classify myself. In the last year 85% of the gigs I have is as cinematographer, 5% as cam op and 10% as ac. By the way I got enough hours in the last 3 years in each of the 3 positions. I know that when I'll join the union it has to be as you are classify into the roster and I want to be sure that it will be the right one. I want to ends up being a union cinematographer. I know that the contacts I have will hire me as AC (as CamOp in the best situation) and if I join as cinematographer but I'll work for more than 40 days as AC, I'll automatically downgrade. What the best classification to work with freedom in the camera dept? Can I join as Camera op so I work both AC and in the future as Cinematographer? Thanks a lot, Toma.
  25. Jill Wilk

    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 has yielded such critically acclaimed hits as “Mystic River,” “Million Dollar Baby” and “Flags of Our Fathers.” Attendees will learn about Stern’s history as a gaffer, his on-set creative process, his insights into working with crews worldwide, and his experiences using digital capture to visualize 2014’s highest grossing film, “American Sniper.” Stern joins Creative Master Series participants Robert Yeoman, ASC, (Oscar nominee and cinematographer of “The Grand Budapest Hotel”); Sandra Adair (editor of and Oscar nominee for “Boyhood”); animators and VFX artists of the smash hit video game “Destiny;” and music and SFX craftspeople from various projects including “Gone Girl” and the “Call of Duty” franchise, who will appear as part of a session discussing music selection and production. “Tom Stern is a consummate craftsman, one who has built an incredible body of work over the course of his career, from “Flags of our Fathers” to “The Hunger Games,” said Chris Brown, NAB executive vice president, Conventions and Business Operations. “His vast base of knowledge will be of enormous value to our attendees, and I join our partners at ICG in welcoming Mr. Stern to the lineup at the 2015 NAB Show.” The Creative Master Series at NAB Show celebrates the craftsmanship of content creation and attracts cinematographers, film and VFX editors, production management for film, TV and online, content creators, content owners, programmers, and aggregators. The 3-day CMS program provides an insiders’ perspective from directors, show runners, creative crew, studio and network production executives as they share their insights on award-winning television and film projects, as well as commercials, gaming properties, and live event productions. Additional conference partners for the Creative Master Series include American Cinema Editors (ACE), American Society of Cinematographers (ASC), Entertainment Industries Council (EIC), Motion Picture Sound Editors (MPSE), New York Festivals, Production Music Association (PMA), and the Visual Effects Society (VES). “Heroes, Legends and ‘American Sniper’: A Conversation with Tom Stern, ASC, AFC” will take place Tuesday, April 14, 1:45-2:45 p.m. in South Hall Room 220 of the Las Vegas Convention Center. To attend this and other sessions, view registration packages. Tweet this: #AmericanSniper cinematographer Tom Stern joins @NABShow lineup as part of Creative Master Series, April 14: http://ctt.ec/9vc3f+ About NAB Show NAB Show, held April 11-16, 2015 in Las Vegas, is the world's largest electronic media show covering the creation, management and delivery of content across all platforms. With more than 98,000 attendees from 150 countries and 1,600+ exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is home to the solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. For complete details, visit www.nabshow.com. About NAB The National Association of Broadcasters is the premier advocacy association for America's broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities in the digital age. Learn more at www.nab.org.
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