Podcasts about Arri Alexa

“Den of Thieves 2: Pantera,” released on January 10, 2025, is the eagerly awaited sequel to the 2018 heist thriller “Den of Thieves.” Directed by Christian Gudegast, who also co-wrote the screenplay with Paul T. Scheuring, the film reunites stars Gerard Butler and O'Shea Jackson Jr., reprising their roles as the relentless Los Angeles Sheriff's Department detective Nicholas “Big Nick” O'Brien and the cunning thief Donnie Wilson. This installment shifts the action from the gritty streets of Los Angeles to the sun-drenched, glamorous locales of Europe, delivering a high-stakes diamond heist narrative inspired by the real-life 2003 Antwerp diamond robbery. Produced by Lionsgate, alongside Diamond Film Productions, G-BASE, and Tucker Tooley Entertainment, the film blends tactical crime drama with a newfound lightness, trading the original's brooding intensity for a more playful, buddy-cop dynamic.The story picks up with Big Nick, still reeling from personal turmoil, including a recent divorce, as he tracks Donnie across Europe. Donnie, now entangled with the notorious Panther mafia, is orchestrating a daring heist targeting the world's largest diamond exchange in Nice, France. The plot kicks off with a pulse-pounding opening in Antwerp, where Donnie and the Panther Crew, led by the enigmatic Jovanna (Evin Ahmad), steal a rare red diamond, setting the stage for a cat-and-mouse game. Nick, gone rogue from his department, pursues Donnie not just to apprehend him but with a surprising twist of intent—teaming up for the heist. Their unlikely alliance, cemented over drunken shawarma and banter about French cuisine, injects the film with a shaggy charm reminiscent of early “Fast & Furious” films, though it's layered with Gudegast's signature procedural detail.Spanning 144 minutes, “Den of Thieves 2: Pantera” luxuriates in its slow-burn buildup, dedicating much of its runtime to the meticulous planning of the diamond center break-in. From camera cycles to fake identities, the film revels in heist logistics, punctuated by tension from vengeful ex-crew members and a Sardinian mobster demanding the stolen diamond's return. The payoff arrives in the second hour with a gripping infiltration sequence and a standout car chase through the French Alps, evoking Michael Mann's “Heat” and John Frankenheimer's “Ronin.” Butler's Nick, hanging off Donnie's getaway car, firing at pursuers, anchors the visceral action, shot with a metallic realism by cinematographer Terry Stacey using Arri Alexa cameras.The cast expands with strong supporting turns from Evin Ahmad as a potential love interest for Nick, Salvatore Esposito as a mafia heavy, and Meadow Williams reprising her role from the first film. Filmed across Tenerife, the Canary Islands, and the UK from April to July 2023, the production transformed Santa Cruz streets into a French diamond district, enhancing the film's European flair. Kevin Matley's score replaces Cliff Martinez's from the original, adding a fresh sonic pulse to the Mediterranean setting.Critically, the film sits at a 63% on Rotten Tomatoes, lauded for Butler's charisma and the thrilling set pieces, though some, like Rolling Stone's David Fear, critique its convoluted plot and overlong runtime. Grossing $57.3 million worldwide against a $40 million budget, it topped the U.S. box office with a $15 million opening weekend. Now streaming on Netflix as of March 20, 2025, “Den of Thieves 2: Pantera” refines its predecessor's macho ethos into a more elegant, if familiar, thriller—leaving the door ajar for a third installment, already greenlit, set in Africa.

Dune: Prophecy, the six-episode prequel series to the Dune films, now streaming on Max, delves into the origins of the Bene Gesserit. The series is set 10,000 years before the events of the movies. Bringing this ancient future to life was just one of the challenges faced by cinematographer Pierre Gill, CSC, a veteran of science fiction and period pieces alike. Pierre, who has a deep affinity for the sci-fi genre, sees it as a close cousin to historical dramas. “It's like another type of period piece,” he explains, citing the importance of costumes, lighting, and set design in creating an immersive world. His experience in science fiction is extensive, having served as additional and second unit cinematographer on Denis Villeneuve's Dune, Arrival, and Blade Runner 2049. This prior experience proved invaluable for Dune: Prophecy. “On Dune: Prophecy, the challenge is there's not really a lot of light source in the concept of the universe,” Pierre notes. The goal was to respect the established aesthetic of Villeneuve's Dune, avoiding an overabundance of typical sci-fi lighting. During his initial interview for the series, Pierre emphasized his understanding of the Dune look, a perspective informed by his work on the first film. He felt the series should align with the films, potentially even enhancing viewers' appreciation of the cinematic universe. However, Pierre was also determined to bring his own artistic vision to the project. “At the same time,” he admits, “it's difficult because as a cinematographer, I don't want to recreate what Greig Fraser, the master, did. I don't want to copy him.” Pierre's approach for Prophecy involved strong, wide shots with splashes of bold color. After extensive lens and camera testing, Pierre chose to shoot with the Arri Alexa 35. He also used two Steadicams to maximize efficiency during the action-packed shoot. Pierre favored a centered camera, even in close-ups, and faced the significant hurdle of lighting the massive sets. Time constraints limited pre-lighting opportunities, forcing Pierre to find innovative solutions. He employed mobile softboxes and book lighting to sculpt the actors' faces, creating soft bounce light. The presence of ceilings on some of the sets allowed for lower camera angles and the inclusion of more background detail. He was also able to use many practical lighting sources throughout the set. Dune: Prophecy has been picked up for a second season and Pierre is excited to explore the Dune universe further. “Season 2 will be even more powerful, I think,” he predicts. You can see Dune: Prophecy on Max. https://www.max.com/shows/dune-prophecy-2024/57660b16-a32a-476f-89da-3302ac379e91 Find Pierre Gill: Instagram @pierregill_dp Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

It seems that several manufacturers are finding creative ways to reduce prices for their cameras. Following ARRI's announcement last week, Blackmagic has now announced a price reduction for the URSA Cine 12K to $7,000. Given the strong engagement from the CineD community in the comments on ARRI's announcement, it's worth discussing and sharing different perspectives on cameras and the high-end cinema market. Sponsor: This episode is sponsored by FUJIFILM. Check it out at 29:46 Chapters & articles mentioned in this episode:   (00:00) - Intro (03:50) - ARRI ALEXA 35 Base Model Starts at €50K & Adds Flexible Feature Licenses, Lower-Cost Media https://www.cined.com/arri-alexa-35-base-model-starts-at-e50k-adds-flexible-feature-licenses-lower-cost-media/ (27:49) - Blackmagic Design URSA Cine 12K for $7K Launched https://www.cined.com/blackmagic-design-ursa-cine-12k-for-7k-launched/ Blackmagic URSA Cine 12K LF Lab Test https://www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/   We hope you enjoyed this episode! You have feedback, comments, or suggestions? Write us at podcast@cined.com 

A new ARRI announcement has likely caught the attention of many in the film industry. They have introduced the new ARRI ALEXA 35 Base Model, which comes at a lower price than the original (now called “ARRI ALEXA 35 Premium Model”) version but lacks some features that can be licensed and purchased separately. Nino and Johnny discuss this new pricing model and share their thoughts on why ARRI might be taking this approach. Additionally, there are some noteworthy cameras and firmware updates and new lenses worth discussing, so tune in for this week's updates in the world of cine tech! Sponsor: This episode is sponsored by FUJIFILM. Check it out at 29:46   Chapters & articles mentioned in this episode: (00:00) - Intro (03:50) - ARRI ALEXA 35 Base Model Starts at €50K & Adds Flexible Feature Licenses, Lower-Cost Media https://www.cined.com/arri-alexa-35-base-model-starts-at-e50k-adds-flexible-feature-licenses-lower-cost-media/ (35:00) - Z CAM E2 Mark II Series of Cameras Announced – Enhanced Specifications and Functionality https://www.cined.com/z-cam-e2-mark-ii-series-of-cameras-announced/ (40:46) -  Sony BURANO Firmware Version 2.0 Upcoming – New Recording Formats, SDI Output, Monitoring, Metadata, and More https://www.cined.com/sony-burano-firmware-version-2-0-upcoming-new-recording-formats-sdi-output-monitoring-metadata-and-more/ (47:48) - Panasonic LUMIX Firmware Updates Announced – Multiple Frame Markers, MP4 Lite, and More https://www.cined.com/panasonic-lumix-firmware-updates-announced-multiple-frame-markers-mp4-lite-and-more/ (52:32) - Introduction to Lighting https://www.mzed.com/courses/introduction-to-lighting (55:20) - Adobe Unveils Upgrades to Premiere, After Effects, and Frame.io https://www.cined.com/adobe-updates-unveil-upgrades-to-premiere-after-effects-and-frame-io/ (01:06:44) - Canon RF 16-28mm f/2.8 Lens Announced – Compact and Affordable https://www.cined.com/canon-rf-16-28mm-f-2-8-lens-announced-compact-and-affordable/ (01:08:32) - DZOFILM X-Tract Probe Zoom Lens Series Unveiled https://www.cined.com/dzofilm-x-tract-probe-zoom-lens-series-unveiled/ (01:14:34) - Laowa Probe Lens Teased – Ultra Wide 15mm, and 2.3X Zoom https://www.cined.com/laowa-probe-lens-teased-ultra-wide-15mm-and-2-3x-zoom/ (01:16:44) - Poll: EVF or Monitor – Which Do You Prefer for Your Camera Setup? https://www.cined.com/poll-evf-or-monitor-which-do-you-prefer-for-your-camera-setup/   We hope you enjoyed this episode! You have feedback, comments, or suggestions? Write us at podcast@cined.com 

There are two new kids on the block in the world of filmmaking: the ARRI ALEXA 265 and the Nexus G1 camera prototype, both recently unveiled. Tune in to this episode for an in-depth discussion about these exciting releases and much more on cameras and filmmaking. Don't miss it! Sponsor: This episode is sponsored by FUJIFILM. Check it out at 18:01   Chapters & articles mentioned in this episode: (00:00) - Intro   (03:35) - CineD Cameras of the Year 2024 – And the Winners Are … https://www.cined.com/cined-cameras-of-the-year-2024-and-the-winners-are/   (19:00) - Nexus G1 Final Design & Prototype Unveiled – 6K S35 Blackmagic Sensor, Modular https://www.cined.com/nexus-g1-final-design-prototype-unveiled-6k-s35-blackmagic-sensor-modular/   (32:08) - ARRI ALEXA 265 Announced – A Small and Lightweight 65mm Camera https://www.cined.com/arri-alexa-265-announced-a-small-and-lightweight-65mm-camera/   (41:45) - B&H Deals – Heavily Reduced Prices on Leica SL2-S and Leica SL2 Cameras https://www.cined.com/gear-guides/bh-deals-heavily-reduced-prices-on-leica-sl2-s-and-leica-sl2-cameras/   (43:36) - OpenAI Sora Now Available for Public Use – Controversy Ensued https://www.cined.com/openai-sora-now-available-for-public-use-controversy-ensued/ MKBHD's Sora review: https://www.youtube.com/watch?v=OY2x0TyKzIQ   (59:40) - Video Editing Year-In-Review: Software Trends from 2023 to 2024 https://www.cined.com/video-editing-year-in-review-software-trends-from-2023-to-2024/   (01:04:16) - DJI Power Expansion Battery 2000 Introduced for the DJI Power 1000 https://www.cined.com/dji-power-expansion-battery-2000-introduced-for-the-dji-power-1000/   (01:08:02) - RØDE Wireless GO (Gen 3) Wireless Microphone System Released – Pro Features, Colors, and Affordable https://www.cined.com/rode-wireless-go-gen-3-wireless-microphone-system-released-pro-features-colors-and-affordable/   We hope you enjoyed this episode! You have feedback, comments, or suggestions? Write us at podcast@cined.com   

Thelma is a heartwarming and inspiring action comedy about Thelma Post, a 93-year-old woman who falls victim to a phone scam and loses $10,000. Determined to reclaim her money, Thelma embarks on a thrilling adventure with her friend Ben (Richard Roundtree) on his borrowed mobility scooter across Los Angeles. As Thelma, June Squibb captivates with her portrayal of a feisty and independent senior citizen out for justice and redemption. Thelma challenges ageist stereotypes and inspires viewers to realize that they can fight back against injustice at any age. Director and writer Josh Margolin's masterful storytelling and keen eye for detail bring Thelma's journey to life. He wrote the script from a place of love and admiration for his own grandmother, and enjoyed playing with action adventure elements. Josh admired cinematographer David Bolen's documentary film, Some Kind of Heaven, which used a natural and humanistic style. “In making this movie, it was so important to me to find a partner who saw Thelma the way I saw it and wanted to bring a filmic look to it, but also be able to have fun with it,” says Josh. David found the script incredibly relatable, since he also has a special relationship with his grandmother. He knew exactly how he wanted to approach the visual language of Thelma. With a background in shooting documentaries, David wanted Thelma's world to feel real, so that audiences would emphasize with her life. “Documentaries have really influenced how I film narrative work,” he says. “I think it's important for things not to feel overly lit or over the top. I'm chasing that feeling of realism and that subjectivity that a documentary can bring.” David chose to shoot on the ARRI Alexa 35, which was brand new at the time. During preproduction, David found the camera responded well to natural street light and shooting in nighttime conditions, since a good part of the film takes place at night. With only a 25 day shoot, Josh and David created an extremely detailed shotlist. Josh was very aware that working with older actors meant that the production needed to work within their capabilities. The production team kept everything intimate and small, and the set felt like a close-knit family. “The logistics of it were challenging on this film,” says Josh. “It was a quick schedule and you are with elderly actors. So, you know, as capable as June is, and as amazing as she is, you don't want to do a bunch of takes on something.” He felt confident that they could adapt on the fly and adjust to practical realities of certain moments. “On the page, everything is one way, and then the second you're doing it, things change,” says Josh. “I think doing a lot of homework and also being able to be nimble was really helpful for shooting an indie in L.A.” Josh, who also edited Thelma, did not make the deadline to submit for the 2023 Sundance Film Festival, but it allowed him the luxury of a long postproduction process and screenings for friends and colleagues. Once he submitted the film to Sundance for 2024 consideration, Josh felt pessimistic about their chances. But not only did Thelma get into the festival, it was given a world premiere screening. Shortly after, Magnolia Pictures picked it up for distribution. Find Josh Margolin: Instagram @jmargo999 Find David Bolen: Instagram @davidbolendp Thelma is currently available for rent on Amazon, AppleTV, or other VOD services and will be streaming on Hulu. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/EN-US/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In this episode, Richard Crudo, the cinematographer, and Esther Woodworth, the 1st Assistant Camera for the Ray Tracing FTW short film, share their journey working on the groundbreaking project. We take a deep dive into the dynamics of the camera crew, exploring how different departments like lighting and grip collaborate to bring a director's vision to life. Esther provides insight into her passion for cameras, and the duo sheds light on their roles and teamwork on set. Richard and Esther discuss their approach to shooting Ray Tracing FTW, detailing their experience working with LED volumes to seamlessly blend live-action with digital environments. They also talk about using the ARRI Alexa 35 paired with vintage Panavision lenses to create a classic 1970s film look while leveraging the flexibility and precision of modern technology. Throughout the conversation, they reflect on the balance of creativity and technical expertise and share their favorite moments from filming the short. This is a must-listen episode for anyone wanting to get a better idea of the right way to shoot ICVFX.

In the second part of our interview with Strange Darling cinematographer Giovanni Ribisi, he delves into his meticulous approach to testing, collaboration with director JT Mollner, and the creative muscles he uses for both acting and cinematography. Strange Darling is a puzzle box of a movie, with seven different chapters mixed up to tell the story. It became the actors' playground, where they could explore the thriller's themes and characters, translating their ideas into tangible visual elements. Giovanni's approach to the cinematography was guided by a desire to create a simple yet elegant aesthetic, emphasizing shape, lighting, camera movement and composition. Together, Giovanni and JT Mollner found the film's visual style. They tested several different film stocks and explored various lighting setups and color palettes using a dummy head as a stand in. “(Testing on film) doesn't need to be expensive-you could do tests on 16 millimeter and answer questions that you have as part of the creative process,” he says. Giovanni also used an older ARRI Alexa digital camera for trying out some lenses before testing them on film. Giovanni finds that cinematography uses some of the same processes as acting: imagination, creativity, and a willingness to take risks. Cinematography, like acting, requires preparing and practice. “You develop instincts to answer and solve problems and challenges,” he says. “It becomes an instinctual thing to frame the shot, for it to fall in line with what you prepped for. As an actor, you see it in the outcome of your work, attention, and focus.” When comparing acting to cinematography, Giovanni finds acting much more difficult. “It never ends up being what you're trying to do because it's a hard thing.You watch it the next day and you're like, oh my God, I really got into self-expression there... So much of acting is about humiliation, trying not to embarrass yourself. I always find that it takes a lack of self-consciousness. If you're too self-conscious, you just get up in your head and you can't do it.” About eight years ago, Giovanni was invited by cinematographer-turned director Reed Murano to be part of a panel at CameraImage. It provided valuable opportunities to connect with other professionals such as Sal Totino, Matty Libatique and Ellen Kuras. He also admires Robbie Ryan's work on Poor Things and Kinds of Kindness. Strange Darling is currently in theaters. Sponsored by Hot Rod Cameras www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

For cinematographer Vanja Černjul, ASC, finding creative inspiration within House of the Dragon season 2 wasn't difficult. “House of the Dragon includes such a range of settings, from huge battle scenes to remote locations with just a small crew, a camera and tripod,” he says. “What's in front of the camera is so strong that you really have to exercise every filmmaking or storytelling muscle that you have developed over the years.” Vanja was the director of photography for episodes 6 and 7 and the production team chose to use the ARRI Alexa 35 for season 2. They knew that the Alexa's superior sensor would retain all the details of candlelight and fire, showing the highlights of light without blowing out the source. Vanja was happy that House of the Dragon Season 2 included many more locations and amazing sets on a large backlot, with much less filming on volume stages. The volume stages were mainly used for the dragon riding scenes, on a stage in London with three large LED screens surrounding the actors on a mechanical device. The pre-production and prep process for House of the Dragon season 2 was lengthy and extremely detailed. Five director and DP teams worked on eight episodes. They started with creating a shot list that was approved by the show producers, then shared with the visual effects department and storyboard artists. “In order to create the best visual effects, they needed to know what we were going to do on location as early as possible,” says Vanja. “It really streamlined the visual effects process and allowed enough time for them to build excellent visual effects.” Prep was just as intense as the pre-production period. House of the Dragon was a huge production that required multiple directors, DPs, and assistant directors to prepare each episode while others were being shot. All five teams had to shoot and share the same locations, so there was a rigorous schedule with little room for extending shoot days. Episode 7 features a stunning dragon battle sequence, seamlessly done as what appears to be a oner. Vanja worked with director Loni Peristere to plot out the scene, which takes place in a huge cave where the dragons live. All the action was centered around the shot, and featured practical stunts. “There were 16 people on fire in a dragon battle in one scene. It's really mind-blowing when you're there in person, they really know what they're doing- but it's people on fire, falling from the ceiling!” says Vanja. Once the stunt person was ignited, they could only be on fire for a few seconds, so it was important to get the shots as fast as possible. Vanja is also Emmy-nominated for the documentary Jim Henson: Idea Man, along with friend and fellow cinematographer Igor Martinović. Vanja grew up watching The Muppet Show, and is a huge fan of Jim Henson's work. Vanja and Igor worked together to shoot all the interviews for the documentary, as well as the stop-motion sequences within it. Vanja had never shot any stop-motion animation before, so it was a fun and interesting challenge. All the interviews were shot first, in several different locations and over a long period of time, so it was important that all of the scenes matched. They chose a set design that could be reproduced no matter where it was located, keeping exact notes of the depth of field, camera placement, and lighting. Find Vanja Černjul: https://vimeo.com/showcase/5574603 Instagram: @vanjacernjul Sponsored by Hot Rod Cameras www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

SEASON 2 - EPISODE 94 - BILL BENNETT - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Bill Bennett speaks with us about the world of commercial filmmaking. Born into a family of engineers, Bill came to love art through his mother's own development as an artist, and he quickly changed majors in college to pursue his passion. Finding his way to LA, Bill built sets for commercials for years until breaking his way into camera operating and eventually cinematography in the field. Bill reveals how commercial filmmakers transitioned from film to digital formats and of his involvement in the development of the Arriflex 435 camera, a major breakthrough at the time. Bill later reflects on the impact of the Arri Alexa camera on the design of digital cameras at large and on the moment a digital camera demonstrated its value as a viable replacement for film cameras to him on a car commercial shoot. Bill also shares plenty of advice for young filmmakers looking to enter the world of commercial production and what his own views are on what makes someone stand out from the crowd. Towards the end, we discuss how commercial filmmaking is changing with new technologies like artificial intelligence and volume lighting systems. - This episode is sponsored by Aputure

Credits Banner: Anandi Art Creations Cast: Sundeep Kishan, Rakul Preet Singh, Nagineedu, Brahmaji, Saptagiri, Tagubothu Ramesh, Pruthvi, Jaya Prakash Reddy, MS Narayana, Narsing Yadav etc Music: Ramana Gogula Lyrics: Bhaskarabhatla, Srimani, Kasarla Syam Art: Sahi Suresh Fights: King Salman, Venkat Choreography: Shekar VJ Camera: Chota K Naidu Editing: Gautham Raju Direction: Merlapaka Gandhi Producers: Gemini Kiran Release date: 29 November 2013 Interesting Facts Merlapaka Gandhi real name is Che Guevara. I am born and brought up in Vedullacheruvu near Renigunta. My relatives and friends started called me Chegu, Jaggu etc since they found it hard to pronounce Che Guevara. Then my father changed my name to Gandhi when I was 5 after watching Attenborough's Gandhi in his village.  My father Merlapaka Murali used to be a journalist and worked in Eenadu and Andhra Jyothy newspapers. He likes writing novels. 25 of his novels were published in Swathi magazine. He was interested in Communism I studied in Tirupathi till intermediate and then did my B.Tech. in Allagadda. I wanted to become a director since I was in 10th class. But my father wanted me to finish studies first. After completing B.Tech, I told my father that I would do a diploma course in cinematography so that even if I fail in movies, I can live by doing wedding photography. My father agreed and I have joined LV Prasad institute in Chennai for cinematography course. I was never interested in cinematography and I used to attend direction classes. Sujith (Run Raja Run director) was my senior in that film institute.  Then he after 1 year of Course felt I knew everything and made a short film called Karma Raa Devuda. It became popular and he started to get calls from the industry and one of them was Khayyum, brother of Ali in Super movie. Then they did a short film together.  The first line I thought about is that a guy who wants to go to Tirupati missed his train in Hyderabad and boards it at Tirupathi. Then I added father character who gives son a last chance to stay at house and it has added tension factor. Then there is a heroine who gets tagged along. And then I wrote characters of Saptagiri and Thagubothu Ramesh for entertainment aspect. I told my father the story but he wasn't impressed intitially and he likes romance so he actually wrote the love track in the movie between Sundeep and Rakul. Most of the characters I have written are taken from real life. Narrated it to Sundeep Kishan, then told it to Chota K Naidu and he felt very excited and introduced him to produce Kiran and after listening he immediately said lets go to shooting.  Producer actually gave suggestion for the title Venkatadri Express and it was fixed and it was also his suggestion to get Raman gogula for the Music after a long gap of 6 years after Yogi for a notable movie.  First combo of Sundeep and Chota K Naidu. This is his first film made entirely with digital cameras. He has used Arri Alexa and Red Epic cameras. He has used lights in an effective way. We have hired a train for 11 days and shot in real locations like Kachiguda Railway station.  For Saptagiri's role, Ali was actually the first choice and that point in time Prema Katha Chitram hadnt released when they were filming. Saptagiri's was fresh and Gandhi liked his innocence but Chota K Naidu didnt like him. He said let me call Ali garu right now but that character required Sundeep Kishan to yell at him, he didnt like Sundeep chiding (thittadam) didnt sit with well with him (ekkatle). So they continued with Saptagiri and he got very good name with it and rest is history.  Movie was a hit at the box office and honestly speaking this was the last movie of Sundeep Kishan that I actually liked. Completed 50 days. 

HBO's True Detective: Night Country has captivated audiences with its chilling atmosphere and compelling narrative. Cinematographer Florian Hoffmeister, BSC worked with director Issa López to craft the haunting visuals for the supernatural whodunit. “The detective procedural is part of the brand and it's part of the show, but it should not affect the cinematography,” says Florian. “The cinematography is never motivated just in terms of solving the mystery. We must be sure to show every important fact or clue, to understand the mystery or to build up a bigger mystery. But it's important to follow the characters and their internal struggles and secrets, the relationships, the darkness, the supernatural as the case unfolds.” When he first met with Lopez to discuss shooting True Detective: Night Country, Florian liked the feeling of eerie isolation and darkness of the location. The influence of nature adds to the supernatural and to the characters' fragmentation from each other. Florian found inspirational images by photographer Alexander Gronsky, who took photos of Russian workers in mines near the Arctic Circle. John Carpenter's The Thing and the movie Sicario were also influences for the look of the series. True Detective: Night Country takes place in Alaska near the Arctic Circle, with Iceland as the filming location. Most of the show was shot outside during the winter months, although it happened to be the coldest winter in Iceland in a hundred years. They used a soundstage only for the scenes where characters had to be outside in the snow naked or barefoot. Florian enjoys shooting in extreme climates, noting that proper clothing for the temperature is what matters the most. Even with the extreme cold, the ARRI Alexa 35 cameras all functioned just fine. The filming was over a period of 112 days, starting in October on the soundstage. Once winter really hit after Christmas, they began shooting in the snow and darkness. Each day provided about four hours of light, with just about five minutes of sunlight, then a few blue hours of sunrise and sunset. True Detective: Night Country is available on Max. Hear our previous interview with Florian Hoffmeister discussing his work on TÁR. https://www.camnoir.com/ep194/ Find Florian Hoffmeister: http://florianhoffmeister.de/ Instagram: @florian.hoffmeister Sponsored by Hot Rod Cameras www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Lots of exciting news just before we head off to NAB 2024! In CineD Focus Check this week, Nino is joined by long-time writers and contributors Jakub and Jeff as well as Johnnie to talk about all the fantastic gear that is coming out. DJI just announced some great new products like the DJI Avata 2, the 4th generation of its Ronin stabilizers and the DJI Focus Pro. There is a new professional mounting system for the iPhone 15 Pro by Tilta, Aputure and Litepanels have some lighting news and PROTON promises a very small camera. Panasonic has released a new firmware update and lots more! Subscribe to our weekly podcast to stay up-to-date with all the latest cinema gear news and tech insights! Show chapters: (00:00:00) Introduction  (00:01:25) DJI Avata 2 announced - Jakub's full video review: https://www.cined.com/dji-avata-2-review-larger-sensor-easy-acro-mode-new-goggles-3-with-cameras/ (00:18:07) DJI RS 4 and RS 4 PRO Gimbals Announced – Same Payload Capacity, Vertical Shooting Capabilities, and More - https://www.cined.com/dji-rs-4-and-rs-4-pro-gimbals-announced-same-payload-capacity-vertical-shooting-capabilities-and-more/ (00:27:35) DJI Focus Pro Introduced – LiDAR FIZ System with New Motors and Hand Control Unit - https://www.cined.com/dji-focus-pro-introduced-lidar-fiz-system-with-new-motors-and-hand-control-unit/ (00:41:45) Tilta Khronos Ecosystem of Accessories for iPhone 15 Pro and Pro Max Released - https://www.cined.com/tilta-khronos-ecosystem-of-accessories-for-iphone-15-pro-and-pro-max-released/ (00:47:32) Aputure INFINIMAT Announced – New Pixel-Mappable RGB Light Mats With Inflatable Diffusion - https://www.cined.com/aputure-infinimat-announced-new-pixel-mappable-rgb-light-mats-with-inflatable-diffusion/ (00:49:52) Litepanels Astra IP Bi-Color LED Panels Announced – Now with Weatherproof Construction - https://www.cined.com/litepanels-astra-ip-bi-color-led-panels-announced-now-with-weatherproof-construction/ (00:53:19) Panasonic LUMIX S5II/S5IIX Firmware Update Announced with Camera to Cloud Integration - https://www.cined.com/panasonic-lumix-s5ii-s5iix-firmware-update-announced-with-camera-to-cloud-integration/ (00:56:42) New Frame.io Version 4 Introduced – With Multi-Panel Customization, Metadata Frameworks, and More - https://www.cined.com/new-frame-io-version-4-introduced-with-multi-panel-customization-metadata-frameworks-and-more/ (01:02:55) PROTON Claims to Release “World's Smallest Broadcast Quality Camera” at NAB 2024 - https://www.cined.com/proton-claims-to-release-worlds-smallest-broadcast-quality-camera-at-nab-2024/ (01:04:31) Atlas Orion Anamorphic Lenses – 18mm, 135mm, and 200mm Focal Lengths Now Available - https://www.cined.com/atlas-orion-anamorphic-lenses-18mm-135mm-and-200mm-focal-lengths-now-available/ (01:05:55) ARRI L-Series Plus LED Fresnels Announced – 90% Brighter, Direct Network Connectivity - https://www.cined.com/arri-l-series-plus-led-fresnels-announced-90-brighter-direct-network-connectivity/ (01:07:34) ARRI ALEXA 35 Live - https://www.arri.com/en/camera-systems/live-cameras/alexa-35-live We hope you enjoyed this episode of CineD Focus Check! You have feedback, comments or suggestions? Write us at podcast@cined.com

Cinematographer Greig Fraser, ACS, ASC doesn't see Dune: Part Two as a sequel, but as simply the second half of the Dune story. Shooting the second movie made Greig feel “emboldened, to make decisions that we may not have made in the first instance. We weren't necessarily considering how to outdo ourselves. I think the fact that we were kind of riding a wave- no pun intended- but a wave of success for that last movie.” Dune: Part Two was shot digitally on the ARRI ALEXA 35 and the ALEXA Mini LF then printed to 70 mm film in post production for the final print. Greig prefers the look of film to that of raw digital, but he doesn't feel like he has to shoot on film. He used a small set of spherical lenses that were easily transportable. Lighting for the movie included plenty of hard light and open shade, since most of Dune: Part Two takes place in the harsh desert sands of Arrakis. Greig chose to uplight in order to illuminate faces, because harsh sunlight would naturally bounce off the ground and reflect upwards onto the characters. “I think that the most important thing in this movie is that everything feels honest. When you're going to extremes in a story, if you're running a thousand foot long sandworm in the middle of the movie, which is obviously fantasy, then you've got to also fill it with reality and honesty. You can tell Denis' direction with the actors was absolutely honest. I needed to make sure that I had the same kind of approach for the lighting.” The production featured a massive crew, shooting in four countries: Budapest, Italy, Jordan and Abu Dhabi. The second unit was essential for staying on schedule. Greig also relied on his DIT to help him match shots across different locations, sometimes months apart. He often had to choose whether to shoot on the sound stage or outside on location for the desert sequences. Though filming outside was best for daylight, the reality is that real sand is messy, uncontrolled, and harsh on equipment. The huge sandstorm sequence was shot on the soundstage, which was pumped full of atmospheric haze and color graded in post to be sand colored. Greig enjoyed testing and using infrared black and white film for the gladiator-style fight scenes on Giedi Prime. He used a modified ARRI ALEXA 65 to shoot infrared. Since the people there have very pale white skin, he imagined that Giedi Prime has only infrared light from the sun, and no visible sunlight. Greig partnered with actor Josh Brolin to create a beautiful art book of photography called Dune: Exposures. It features photos he took on the set of Dune and Dune: Part Two, with prose written by Josh Brolin. You can find it at Insight Editions or on Amazon. Find Greig Fraser: Instagram: @greigfraser_dp Sponsored by Hot Rod Cameras www.hotrodcameras.com Sponsored by ARRI: www.arri.com/en The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Greig Fraser, ACS, ASC, (born 3 October 1975) is an Australian cinematographer who studied at the RMIT University. His most well-known work includes the films Zero Dark Thirty (2012), Lion (2016), Rogue One (2016), Vice (2018), Dune (2021), The Batman (2022) and The Creator (2023). For his short film Cracker Bag he was nominated for Best Cinematography at the 2003 AFI Awards. For his work on Lion, he won the American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases and AACTA Award for Best Cinematography and received Academy Award and BAFTA Award nominations. Fraser shot Rogue One on the Arri Alexa 65 large format digital camera and Panavision lenses from the 1970s, making it the first feature film shot entirely with the Alexa 65. Fraser said of working with the Alexa 65, "The images are sharper and have more resolution, and those things are an advantage, but for me it is about the depth of the image -- there is a three-dimensionality to it. Often the beauty came from the texture; we found that the camera excelled when we were filming something with texture; it really enhanced the quality of picture." Fraser returned to the Star Wars franchise with the 2019 television series The Mandalorian. In 2020, for his work on the series, Fraser won the Primetime Emmy Award for Outstanding Cinematography for a Single-Camera Series (Half-Hour). For his work on Dune he won his first Academy Award for Best Cinematography in 2022. Fraser said a feature of his work in that film was intentionally using simple compositions, "We tried to simplify the frames as much as we could. By doing that, we've been able to give the viewers that absorption of story and experience" and colour palette: "We tried quite hard to make sure that it all sat within a certain tone."

Je tu další epizoda. Probíráme nejnovější klenot tuzemské kinematografie: Film Bratři, který je o československé teroristi- eeee, teda vlastně guerilla válečné skupině.  Ještě před tím ale máme čas probrat epochální výlet premiéra do supermarketu a bizarní snahu prezidenta Pavla lobbovat za zájmy Lichtenštejnska.  Poznámka editora: V epizodě zmiňujeme polský film studená válka. Ten ale nebyl natáčen na film, jak v epizodě mylně uvádíme. Natáčel se na digitální kameru Arri Alexa a filmového kontrastu a zrnitosti bylo později dosaženo až v post-produkci.

This community is a big tent. We welcome folks from all backgrounds, and all levels of experience with computers. Heck, on our last episode, we celebrated an article written by someone who is, rounding down, a lawyer! A constant question I ponder is: what's the best way to introduce someone to the world of FoC? If someone is a workaday programmer, or a non-programmer, what can we share with them to help them understand our area of interest? A personal favourite is the New Media Reader, but it's long and dense. An obvious crowd-pleaser is Inventing on Principle. Bonnie Nardi's A Small Matter of Programming deserves a place on the list, especially if the reader is already an avid programmer who doesn't yet understand the point of end-user programming. They might ask, "Why should typical computer users bother learning to program?" Well, that's the wrong question! Instead, we should start broader. Why do we use computers? What do we use them to do? What happens when they don't do what we want? Who controls what they do? Will this ever change? What change do we want? Nardi challenges us to explore these questions, and gives the reader a gentle but definitive push in a positive direction. Next time, we're… considered harmful? #### $ We have launched a Patreon! => patreon.com/futureofcoding If, with the warmth in your heart and the wind in your wallet, you so choose to support this show then please know that we are tremendously grateful. Producing this show takes a minor mountain of effort, and while the countless throngs of adoring fair-weather fans will surely arrive eventually, the small kilo-cadre of diehard listeners we've accrued so far makes each new episode a true joy to share. Through thick and thin (mostly thin since the sponsorship landscape turned barren) we're going to keep doing our darnedest to make something thought-provoking with an independent spirit. If that tickles you pink, throw some wood in our fireplace! (Yes, Ivan is writing this, how can you tell?) Also, it doesn't hurt that the 2nd bonus episode — "Inherently Spatial" — is one of the best episodes of the show yet. It defrags so hard; you'll love it. #### Init Bug report: Frog Fractions. Oh the indignity! Hey, it's The Witness in our show notes again. Getting Over It with Bennett Foddy is the better game, even if it spawned Only Up and other copycats that miss the point. The Looker gets the point. Getting Over It is a triumph that emerged from a genre of games that are hard to play: Octodad, QWOP, I Am Bread Braid arguably spawned the genre of high-minded & heady puzzlers that all try to say something profound through their design. Cookie Clicker and Universal Paperclips are good incremental games. Jump King and Only Up are intentionally bad. Flappy Bird was accidentally good. Surgeon Simulator and Goat Simulator are purely for the laughs. Stanley Parable, like Getting Over It, brings in the voice of the creator to (say) invite rumination on the fourth wall, which is what make them transcendent. Here's the trailer for Bennett Foddy's new game, Baby Steps. So on the one hand we have all these "bad" and """bad""" and sometimes badgames, which actually end up doing quite well in advancing the culture. On the other hand we have The Witness, The Talos Principal, Swapper, Antichamber, QUBE, and all these high-minded puzzly games, which despite their best efforts to say something through their design… kinda don't. When comparing the "interactivity" of these games, it's tempting to talk about the mechanics (or dynamics), but that formal definition feels a little too precise. We mean something looser — something closer to the colloquial meaning when "Gamers" talk about "game mechanics". Silent Football might be an example of "sports as art". Mao is a card game where explaining the rules is forbidden. #### Main The Partially Examined Life is one of Jimmy's favourite philosophy podcasts. Two essays from Scientific American's 1991 Special Issue Communications, Computers and Networks are referenced in the first chapter, one by Larry Tesler and one by Alan Kay. The other essays in this issue are also quite interesting to reflect on from our position 30 years hence. Apple's Knowledge Navigator video, and HP's 1995 video, are speculative fiction marketing about conversational agents. Rewind.ai is one of those "Computer, when did I last degauss the tachyon masticator?" tools. (Oh, Lifestreams…) S-GPT is Federico Viticci's iOS/Mac Shortcut that strings together ChatGPT and various Shortcuts features, so that you can do some nifty automation stuff via a conversational interface. It feels like similar things could be built — heck, probably already have been built — with "If-Tuh-Tuh-Tuh" or Zapier. When Ivan reaches for domain-specific terminology, LUT, Arri Alexa, and Redcome easily because, like, he wishes he had occasion to use them. To hear the story about the Secret Service busting down young Jimmy's door, listen to his episode on the Code With Jason podcast. C Is Not a Low-level Language — a fantastic article about the illusion that our source code closely matches what actually happens during execution. What Follows from Empirical Software Research? Not much, according to Jimmy in this delightful article. Jimmy likes to reference Minecraft's "redstone" which acts a bit like a programming system, so here, have a video about redstone. Ivan saw this video via Mastodon, about someone making a "real" camera in Blender, and… just… 

Join us on a riveting journey into the world of filmmaking with our esteemed guest- Markus Mentzer, the Director of Photography for 'I Think You Should Leave.' We navigate the twists and turns of this fascinating industry, exploring how cinematic gems like Pacification, Succession, The Crown, and Barry have left indelible imprints on viewers. We also touch on the intriguing shift in viewing practices during the pandemic, observing how we've turned to our phones for movie experiences. Our conversation takes an enlightening turn as we dissect film and digital filming's intricate aspects. Markus imparts invaluable insights on the unique challenges of shooting on film, the unnerving tales related to film loading, and the pain of lens adapter technology in achieving the intended depth of field on older digital cameras. We also cast a spotlight on industry milestones like the introduction of ARRI Alexa and how events like Cinegear that have shaped the film domain. Then, we delve into the roles on a film set and the dynamic art of filmmaking. Markus gives us a peek into the technical impediments in filmmaking, the pivotal role of instinctual skills, and the need for Digital Imaging Technicians (DITs). He also shares his affinity for the second unit DP role and reflects on the increasing corporate nature of the film industry. Plus, he humorously debates the fashion choices of a DP. Do join us for an engaging discourse that promises to submerge you into the captivating world of filmmaking. (0:00:15) - Film Industry and Personal Experiences (0:15:01) - Discussion on Film and Digital Filming (0:26:09) - Experience and Technical Challenges in Filmmaking (0:37:19) - Comparing Approaches to Filmmaking (0:42:25) - Film Set Roles and Energy Drinks (0:47:55) - Maximizing Efficiency and Creativity in Filmmaking (1:02:19) - Value of Curation in Today's Society ⁠⁠⁠Follow F&R on all your favorite social platforms!⁠⁠⁠⁠ You can directly support Frame & Reference by ⁠⁠⁠⁠Buying Me a Coffee⁠⁠⁠⁠ Frame & Reference is supported by Filmtools and ProVideo Coalition. Filmtools is the West Coast's leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs. Check out ⁠⁠Filmtools.com⁠⁠ for more. ProVideo Coalition is a top news and reviews site focusing on all things production and post. Check out ⁠⁠ProVideoCoalition.com⁠⁠ for the latest news coming out of the industry.

Martin Ruhe ASC talks about his recurring collaborations with George Clooney and the NETFLIX science fiction epic THE MIDNIGHT SKY.  Martin discusses the practicalities of the ambitious film including the choice of ARRI ALEXA 65 & DNA Prime Lenses, shooting on an Arctic glacier, LED volume in studio, the lighting approach and working with Clooney's dual roles as director and star. Martin also talks about the virtues of shooting single camera, doing his own operating and how he grounds the visuals in the story and character while working film style with digital cameras as well as working with legendary colorist Stefan Sonnenfeld at Company 3.

I can't be more excited about the conversation I'm about to share with you. Today on the show we have filmmaker and indie film legend Albert Hughes. Albert, along with his brother Allen began making movies at age 12, but their formal film education began their freshman year of high school when Allen took a TV production class. They soon made the short film The Drive-By and people began to take notice.After high school Albert began taking classes at LACC Film School: two shorts established the twins' reputation as innovative filmmakers. Albert and his brother then began directing music videos for a little known rapper named Tupac Shakur. These videos lead to directing their breakout hit Menace II Society (1993), which made its world premiere at the Cannes Film Festival and grossed nearly 10 times as much as its $3 million budget. Albert followed up that success with Dead Presidents (1995).On the streets, they call cash dead presidents. And that's just what a Vietnam veteran (Larenz Tate) is after when he returns home from the war only to find himself drawn into a life of crime. With the aid of his fellow vets, he plans the ultimate heist -- a daring robbery of an armored car filled with unmarked U.S. currency!Albert continued displaying his highly stylized and visual filmmaking with From Hell (2001) starring Johnny Depp and The Book of Eli (2010) starring Oscar winners Denzel Washington and Gary Olman.The Book of Eli has the distinction of being the first studio feature film shot on the RED Camera. In the example below, you can see how Albert pushed the camera to its limits with the ground-breaking color grade he gave the film.Most recently Albert brought to the screen the epic film Alpha (2018). The project was shot on the Arri ALEXA 65 for a truly larger than life experience.An epic coming-of-age adventure set in the last Ice Age. A young boy becomes unlikely allies with a lone wolf, enduring countless dangers and overwhelming odds to survive the harsh wilderness and find their way home before the deadly winter arrives.My conversation with Albert was EPIC. We began the episode aiming for our standard 60-90 min run time but we were having such a good time talking shop we just kept going. The final episode clocks in around 3 hours and it was, by far, one of the best times I have ever had on the Indie Film Hustle Podcast.Two filmmakers talking shop and telling stories. We discuss his public beef with Tupac, his rise after the breakout success of Menace II Society, how he navigated the shark-infested waters of Hollywood, working on big-budget studio films, his creative process and Albert even throws in a story about how he stood up to Harvey Weinstein while the disgusting predator was still a power-player in the business.Do yourself a favor and listen to the entire episode. There are knowledge bombs drop throughout!Enjoy my EPIC conversation with Albert Hughes.

Director BJ McDonnell and cinematographers Michael Dallatorre and Eric Leach talk about making a low-budget horror film with some of the world's biggest rock stars.

A glimpse into the making of a low-budget horror film with some of the world's biggest rock stars.

Adam Harig made a viral video buying 5 Broken Arri Alexa cinema cameras and seeing if he could fix them...Watch the viral video: https://youtube.com/watch?v=WovW2NCT9vYFOLLOW FoxTailWhipzhttps://youtube.com/FoxTailWhipzChannelFOLLOW DAVE MAZEhttps://youtube.com/DaveMaze1End Hype with Callye KeenCallye shares 15 years experience launching products and growing businesses.Listen on: Apple Podcasts Spotify Winning With ShopifyWeekly information for people looking to start, grow, accelerate and win...Listen on: Apple Podcasts Spotify BCF ORG Podcast - The Business of BusinessThe Business of Business, topics are divided into 4 Categories: Management,...Listen on: Apple Podcasts Spotify The LeaveBetter PodcastWisdom-focused conversations that help you reach your next level.Listen on: Apple Podcasts Spotify

El WrapItUp! de hoy es la tercera parte de la serie dedicada a la nueva #Arri #Alexa35 en el cual analizaremos algunas de las mejoras que implementaron en sus accesorios nativos y puntos de montaje.*MVF-2*Montura PL*Adaptador PL-EF*Micrófonos Internos*Tarjetas CODEX*Monturas y Riggin*Paquetes y preciosRecuerda que si tienes algún término o proceso que te gustaría entender no olvides enviarnos un DM a nuestro Instagram: @wrapitup.mexico o a nuestro Facebook: wrapitup.mexicoSupport this show http://supporter.acast.com/wrapitup. See acast.com/privacy for privacy and opt-out information. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

Our today's guest will go down in history books as a part of a team that has changed cinematography forever. I am talking about the team behind the development of Arri Alexa. A digital camera that, until today, remains the most widely used digital camera in professional film production. And if you were to ask cinematographers why is it that they like Alexa so much. They would declare that it is all to do with Alexa's Color Science that is responsible for that illusive Alexa Filmic Look. In today's podcast, you will have a unique opportunity to meet the person responsible for this amasing color science. He is going to open his treasure chest and explain how he came up with it and how a rare opportunity that Arri gave him to work on an RnD project later was instrumental in the creation of Arri Alexa.This is also the right moment to talk to our guest as Arri has just announced the Alexa 35, the most advanced professional cinema camera ever created with 17 stops of dynamic range and with a brand new color science. And you will get a chance to learn many crucial details about the new Arri LogC4.Ladies and Gentlemen, it is a great honor to introduce you to Harald Brandel a chief color scientist of Arri.

Music Follow-ups/Corrections As I Lay Dying - Recruited Nick Pierce (formerly of Unearth) to drum on their current tour, after Jordan Mancino bowed out until internal issues in the band are resolved. https://blabbermouth.net/news/as-i-lay-dying-recruits-former-unearth-drummer-nick-pierce New Music/Video Living Wreckage - Endless War https://youtu.be/DVSt9AcRmVk Jeff Gard (DEATH RAY VISION), guitarists Jon Donais (ANTHRAX, SHADOWS FALL) and Matt LeBreton (DOWNPOUR), bassist Matt Bachand (SHADOWS FALL, ACT OF DEFIANCE) and drummer Jon Morency (LET US PREY) Ugly Kid Joe - That Ain't Livin https://youtu.be/DAoVD0yqK2k “Rad Wings of Destiny” set for release Oct 21 2022 Phil Anselmo - Ace of Spades https://youtu.be/PJq6Q8A7MbU Lamb of God - Nevermore https://youtu.be/SnEXcv0YJQA Tours Slipknot - Fall version of the Knotfest Roadshow featuring Ice Nine Kills and Crown the Empire. Starts Sept 20 in Nashville then finishes Oct 7 in Irvine CA. https://slipknot1.com/events/ Suggests Flyleaf self titled album Gaming/Tech Follow-ups/Corrections Overwatch 2 - Open beta starts 06-28. Sign ups start on June 16. Game launch on Oct 4. https://comicbook.com/gaming/news/overwatch-2-open-beta-release-date/ Resident Evil: RE:Verse - release date AGAIN in Oct 28th. https://comicbook.com/gaming/news/resident-evil-reverse-release-date/ Trailers Summer Game Fest 2022 - https://youtu.be/RFO4BJbdpPg More Street Fighter 6 and Callisto Protocol. Fort Solis, Midnight Suns, Cuphead: The Delicious Last Course, Arri Alexa 35 https://youtu.be/g8ZLL3gI5iQ https://youtu.be/2Lr4cP6oWFk Suggests Syphon Filter Comic Books/Books Tim Sale Jeph Loeb's regular collaborator, has been admitted to the hospital with “severe health issues.” https://comicbook.com/comics/news/batman-the-long-halloween-artist-tim-sale-admitted-to-hospital/ Suggests Count Zero TV/Streaming Follow-ups/Corrections The Boys - Season 4 is happening. Masters of the Universe - Season 2 confirmed. Trailers Cyberpunk: Edgerunners - https://youtu.be/x4ztgjvfU60 Coming to Netflix in Sept. Smallville Debuting July 13. https://comicbook.com/dc/news/smallville-stars-tom-welling-and-michael-rosenbaum-launch-rewatch-podcast-talkville/ Suggests Smallville Movies Follow-ups/Corrections Ghostbusters - Animated movie to be directed by Jennifer Kluska (Bee Movie) and Chris Prynoski (Metalocalypse). https://wegotthiscovered.com/movies/ghostbusters-animated-film-bee-movie/ One Punch Man - Justin Lin (Fast & Furious) will direct the live-action movie. https://deadline.com/2022/06/one-punch-man-manga-movie-sony-justin-lin-scott-rosenberg-jeff-pinkner-script-1235044549/ Spider-Man: Across the Spiderverse - The Spot going to be “one of” the main villains. https://comicbook.com/marvel/news/spider-man-across-the-spider-verse-to-pit-miles-against-jason-schwartzmans-spot/ Joker 2 “Joker Folie a Deux” written by Todd Phillips and Scott Silver. https://variety.com/2022/film/news/joker-sequel-todd-phillips-joaquin-phoenix-folie-a-deux-1235287471/ Silent Hill Christophe Gans told JeuxVideo that he has TWO scripts for new Silent Hill, https://www.jeuxvideo.com/news/1584421/silent-hill-un-reboot-au-cinema-par-christophe-gans-le-pacte-des-loups-pour-2023.htm Batman Azteca: Choque de Imperios (Clash of Empires) announced during the 37th Guadalajara Int'l Film Festival (FICG). https://comicbook.com/dc/news/hbo-max-batman-azteca-animated-movie/ Suggests Animatrix Rumor Mill Confirmations/Refutations Joker 2… i was WRONG! New Sources Captain America - Chris Evans coming back for some more Cap action, in spite of Evans denying it regularly. Joker 2 The title has lead to a couple rumors. The first of which being that the “second” character could be either another Joker ~OR~ Harley Quinn. The second being that Lady Gaga in in talks to play Harley. ~AND~ Apparently there is a rumor that this will be a MUSICAL! WTF??? Assassin's Creed Rift Spinoff game from Valhalla.

Peti vásárolt egy vázat és egy objektívet. Megjelent a Fuji X-H2S, kielemeztük amit eddig tudunk róla. Benedek a téli depresszióról készített egy fotósorozatot, amelyet slideshow formájában prezentált. A sorozatról, a slideshow-ról és azok hatásáról, céljairól beszélgettünk. Peti a legutóbbi akt fotózásáról mesélt. Az adás linkje: https://tripodcast.hu/78 Műsorvezetők: Láng Péter, Lénárt Gábor, Varga Benedek Csatlakozz a Tripodcast Community Facebook csoporthoz! http://tripodcast.hu/community Küldj nekünk hangüzenetben kérdést! http://tripodcast.hu/messages Az adást a Tripont, a Manfrotto, a Fujifilm, a Samyang, a NiSi, a Velbon és a Hähnel támogatta! Egyéni oktatásról az alábbi linken kaphattok információt: https://tripodcast.hu/oktatas Kövess minket Instán: https://www.instagram.com/tripodcast_ Támogass minket Patreonon: https://tripodcast.hu/patreon Az adásban elhangzott témák, linkek: - Benedek Slideshow-ja: https://youtu.be/qWqEaqlSEXg - Tom Cruise Terrifies James in 'Top Gun' Fighter Jet: https://youtu.be/v1iZtBM23bY - Fujifilm X-H2S: https://fujifilm-x.com/hu-hu/products/cameras/x-h2s/ - Arri Alexa 35: https://www.arri.com/en/camera-systems/cameras/alexa-35 - Chripko Lili fotója: http://chripko.com/wp-content/uploads/2020/10/Giro-6052.jpg - Todd Hido: House Hunting: https://www.bookdepository.com/House-Hunting-Todd-Hido/9783923922963 - Todd Hido: Intimate Distance: https://www.bookdepository.com/Todd-Hido--Intimate-Distance/9781597113601 - Todd Hido on Landscapes, Interiors, and the Nude: https://www.bookdepository.com/Todd-Hido-on-Landscapes-Interiors-Nude-Todd-Hido/9781597112970

00:00 Preshow Aktuelles: 11:04 Simon war im Urlaub, Elternzeit zu Ende 16:15 Johannes und seine Arbeit bei D-Facto Motion Themen: 23:10 Ist HD in Deutschland gescheitert? https://www.dwdl.de/magazin/88023/sdrepublik_deutschland_privatsender_mit_hdstrategie_gescheitert/?utm_source=&utm_medium=&utm_campaign=&utm_term= 40:30 Beauty and the Nerd wird verschoben https://www.dwdl.de/nachrichten/88026/prosieben_verschiebt_beauty__the_nerd_ins_naechste_jahr/ 42:15 Die neue Arri Alexa 35 52:21 Aus SkyTicket wird WOW 54:49 ORF sendet trotz Stromausfall https://kurier.at/kultur/medien/stromausfall-bescherte-orf-1-bis-nach-mitternacht-starke-quoten/402034967?fbclid=IwAR3catxLZ-VHT3dB-nPKD3z_I1Lw8h4ljCXqMMu6CspRc6eqb9Kif7pmmHo 56:12 Die Epoche der Gerichtssendungen kehrt zurück https://www.dwdl.de/nachrichten/88243/rtl_holt_richterin_barbara_salesch_zurueck_ins_fernsehen/ 58:42 Screenforce Days starten https://www.screenforce.de/events/screenforceday/screenforce-days-2022 Picks: 01:04:20 Johannes: BW Lions bei den Cannes Lions https://bwlions.de/de/ 01:07:54 Simon: Neue Musikvideos https://www.youtube.com/channel/UCvNTY6fYQg9TQ-An04KGF1A/videos

「ARRI、ALEXA Mini LFのソフトウェアアップグレードパッケージ「SUP 7.1.1」発表」　ARRIは、ラージセンサー搭載デジタルシネマカメラ「ALEXA Mini LF」の新しいソフトウエアアップグレードパッケージ「SUP 7.1.1」を発表した。

I can't be more excited about the conversation I'm about to share with you. Today on the show we have filmmaker and indie film legend Albert Hughes. Albert, along with his brother Allen began making movies at age 12, but their formal film education began their freshman year of high school when Allen took a TV production class. They soon made the short film The Drive-By and people began to take notice.After high school Albert began taking classes at LACC Film School: two shorts established the twins' reputation as innovative filmmakers. Albert and his brother then began directing music videos for a little-known rapper named Tupac Shakur. These videos lead to directing their breakout hit Menace II Society (1993), which made its world premiere at the Cannes Film Festival and grossed nearly 10 times as much as its $3 million budget.Albert followed up that success with Dead Presidents (1995).On the streets, they call cash dead presidents. And that's just what a Vietnam veteran (Larenz Tate) is after when he returns home from the war only to find himself drawn into a life of crime. With the aid of his fellow vets, he plans the ultimate heist -- a daring robbery of an armored car filled with unmarked U.S. currency!Albert continued displaying his highly stylized and visual filmmaking with From Hell (2001) starring Johnny Depp and The Book of Eli (2010) starring Oscar winners Denzel Washington and Gary Olman.The Book of Eli has the distinction of being the first studio feature film shot on the RED Camera. In the example below, you can see how Albert pushed the camera to its limits with the ground-breaking color grade he gave the film.Most recently Albert brought to the screen the epic film Alpha (2018). The project was shot on the Arri ALEXA 65 for a truly larger-than-life experience.An epic coming-of-age adventure set in the last Ice Age. A young boy becomes unlikely allies with a lone wolf, enduring countless dangers and overwhelming odds to survive the harsh wilderness and find their way home before the deadly winter arrives.My conversation with Albert was EPIC. We began the episode aiming for our standard 60-90 min run time but we were having such a good time talking shop we just kept going. The final episode clocks in around 3 hours and it was, by far, one of the best times I have ever had on the Indie Film Hustle Podcast.Two filmmakers talking shop and telling stories. We discuss his public beef with Tupac, his rise after the breakout success of Menace II Society, how he navigated the shark-infested waters of Hollywood, working on big-budget studio films, his creative process and Albert even throws in a story about how he stood up to Harvey Weinstein while the disgusting predator was still a power-player in the business.Do yourself a favor and listen to the entire episode. There are knowledge bombs drop throughout!Enjoy my EPIC conversation with Albert Hughes.

FIVE PENNY PICTURES TO THE RESCUE! w/ Andrew Appleyard Todays episode is brought to you by: NGP Equipment Rentals- https://my.captivate.fm/www.NGPFILM.com (www.NGPFILM.com) Green Pastures Studio- https://www.greenpasturesstudio.com/ (www.greenpasturesstudio.com) ****************************************************************************** Finding a decent camera to shoot your project can be tricky. Finding a decent camera rental house can be even trickier. Today we talk to Andrew Appleyard, the owner of Five Penny Pictures. They rent out a full Arri Alexa rig to anyone that needs it. The provide support, additional camera equipment, and even give technical advice. Check them out! www.fivepennypictures.com SHOW NOTES: 5:46 - What is Five Penny Pictures? 7:27 - What is an Arri Alexa and why is it so sexy? 10:47 - Being Arri-Certified 12:32 - Can people rent YOU?! 13:47 -What other goodies can people rent from you? 16:18 - What does the rental process look like? 19:37 - Do you require COI? 23:17 - Helping out with the insurance 27:30 - How did Five Penny Pictures come about? 30:30 - What are the future goals? 32:02 - Rental Red Flags! 36:59 - Reach out to www.fivepennypictures.com 38:00 - SCENE: The worst rental deal ever made ***************************************************************** https://my.captivate.fm/www.okieshowshow.com (www.okieshowshow.com) https://my.captivate.fm/www.youtube.com/okieshowshow (www.youtube.com/okieshowshow) @okieshowshow Become a patron and help us make the show! Go to https://my.captivate.fm/www.patreon.com/okieshowshow (www.patreon.com/okieshowshow) Support this podcast

Hola a todos, esta es la segunda parte de nuestra serie de la Arri Alexa Mini,  y en este episodio cubriremos todos los menús, los layouts y la configuración.Si te perdiste la primera parte, escucha el episodio pasado, en donde cubro todas las características externas de la cámara y el multiviewfinder 1.Primero, les hablaré del diseño de los menús y las funciones principales que usaremos cuando estemos filmando, luego profundizaremos un poco más en los menús adicionales y les diré cómo configurarla.Enlace al simulador que Arri

Chris and Elise talk with director Adrian Prawica about his new film Haymarket: The Bomb, the Anarchists, the Labor Struggle, which is being screened free online this coming week by the Global Labor Film Festival Network, which will also include two online discussions with Adrian on May Day, Saturday, May 1, one at 8p Eastern time with labor historians Joe McCartin (Georgetown University) and Steve Brier (CUNY School of Labor), the other at 8p Pacific time with Labor Studies Professor Dana Frank (UC Santa Cruz). Adrian is an award-winning cinematographer, director, video producer, and content creator. Based in Chicago, his work in journalism, documentary and advertising has been seen on major television networks in the United States and abroad by millions of viewers. He’s done everything from Super Bowl commercials to award-winning documentary films; he’s a certified Phantom Flex high speed camera operator and tech, and he works with both the Arri Alexa, and RED cameras, and we talk about how technology has democratized filmmaking. Adrian was born in Poland and immigrated to the United States at the age of ten, and we also explore how that background has informed his filmmaking. You can also celebrate May Day by watching Work Songs (we interviewed director Mark Street on our April 9 show); get your tickets here. And stay tuned for updates very soon on the upcoming 2021 DC Labor FilmFest line-up! Produced by Chris Garlock. Video edited by Evan Papp of Empathy Media Lab. @AFISilver @dclabor @LaborHeritage1 #AdrianPrawica @GeorgetownKILWP @JosephMcCartin @stevebrier

Chris and Elise talk with director Adrian Prawica about his new film Haymarket: The Bomb, the Anarchists, the Labor Struggle, which is being screened free online this coming week by the Global Labor Film Festival Network, which will also include two online discussions with Adrian on May Day, Saturday, May 1, one at 8p Eastern time with labor historians Joe McCartin (Georgetown University) and Steve Brier (CUNY School of Labor), the other at 8p Pacific time with Labor Studies Professor Dana Frank (UC Santa Cruz). Adrian is an award-winning cinematographer, director, video producer, and content creator. Based in Chicago, his work in journalism, documentary and advertising has been seen on major television networks in the United States and abroad by millions of viewers. He’s done everything from Super Bowl commercials to award-winning documentary films; he’s a certified Phantom Flex high speed camera operator and tech, and he works with both the Arri Alexa, and RED cameras, and we talk about how technology has democratized filmmaking. Adrian was born in Poland and immigrated to the United States at the age of ten, and we also explore how that background has informed his filmmaking. You can also celebrate May Day by watching Work Songs (we interviewed director Mark Street on our April 9 show); get your tickets here. And stay tuned for updates very soon on the upcoming 2021 DC Labor FilmFest line-up! Produced by Chris Garlock @AFISilver @dclabor @LaborHeritage1 #AdrianPrawica @GeorgetownKILWP @JosephMcCartin @stevebrier --- Send in a voice message: https://anchor.fm/labor-goes-to-the-movies/message

En el WIU! de hoy, analizaremos el exterior de la ARRI ALEXA MINI y el Multi Viewfinder 1!Siendo el "estándar de oro" para la industria, la familia de cámaras Alexa ha mantenido nuestro interés por el resultado final en la pantalla grande y en los canales de streaming.Support this show http://supporter.acast.com/wrapitup. See acast.com/privacy for privacy and opt-out information. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

One story, two guys and two iPhones embarked on a road trip to make a feature film. Directors Patrick R. Young and Powell Robinson are my guests in Episode 95 of the SBP Podcast Mobile Filmmaking.  Their experience comes from Patrick’s idea for a film when he was in Middle School or High School. Years later, he and Powell decide to use iPhones to realize his story into a feature film of about 77 minutes. They both live in the Los Angeles area in California. Powell was involved with a musical band and his career plans were focused on his band until the band split. At that point he turned to filmmaking. Powell and Patrick have shot a previous film together, not with smartphones: “Bastard” (2015). Patrick wrote the screenplay for that film. He also wrote screenplays to other films, two which are on Netflix, “My Obsession” and “Pretty Little Stalker.” Patrick and Powell teamed up as directors for “Threshold,” though they had not really thought about making a movie with iPhones. Inspired by Steven Soderbergh’s “Unsane,” a feature film shot with the iPhone, Powell jokingly suggested to Patrick that they should make their film with their iPhones.  “Threshold” was shot over 12 days from a 23 page outline and no script. There were two actors, one producer, two cars and two directors: Patrick R. Young and Powell Robinson. The protagonists are Madison Gill “Madison West” as Virginia, and Joey Millin as Leo. When you listen to their stories in this episode you will realize the way this film was made was a challenge and they will share just how they were able to complete the process all the way through to a finished product. Patrick and Powell captured the audio for their film externally and included ADR to polish up the dialogue, a good investment.  Color grading was also a worthy investment. They pointed out that their editor, Will Ford-Conway, was impressed that their footage came into the editing software just as any other footage shot with a traditional camera. They used iPhones a generation behind in 2018, the iPhone 8S. Written by Patrick R. Young with Powell Robinson as Director of Photography.  “There is a look to phones…there is a vibe and there is a certain vibe to an Arri Alexa and a Red and just understanding what that means to the people watching—and not necessarily crafting your story around it but crafting your visual language to not seem like it’s clashing with what the iPhone itself can make.” Powell Robinson The conversation shares the nuts and bolts of making a film indie style. Patrick and Powell are both experienced indie filmmakers and it’s not like they had no filmmaking experience before they challenged their production using iPhones. However, they had not used smartphone cameras before to make a film.  Our podcast guests, Patrick and Powell share tips and advice on what you should invest in when you are saving money making a film using a smartphone, like good audio.  Mentioned in the podcast and crew are William “Will” Ford-Conway, Editor; Nick Chuba, composer; Kinan Chabani, Colorist; Charles Moody, Sound Designer and Re-Recording Mixer; Jerry Robinson, Dialogue Mixer; Lauren Bates, Producer; Nadine Sondej-Robinson, Costumes; and Alex Familian, Visual Effects. San Diego’s International Mobile Film Festival will be showcasing “Threshold” April 23-25. www.internationalmobilefilmfestival.com You can go to www.MobileFilmStories.com to join the participating filmmakers from the festival and connect with them, chat with them on the topic dedicated to the festival: https://mobilefilmstories.com/community/mfs-announcements/international-mobile-film-festival-2021/#post-223  Connect with Patrick and Powell through the links below: Watch the Trailer: https://www.youtube.com/watch?v=cOMP9RVXcCI&ab_channel=BigBadFilm Distribution Announcement: https://bloody-disgusting.com/exclusives/3652484/arrow-films-hits-road-threshold-hopes-breaking-curse-exclusive/ Patrick on Twitter: https://twitter.com/JustYoungEnough Powell on Instagram: https://www.instagram.com/powell_robinson/ Threshold Movie on Instagram: https://www.instagram.com/threshold_film/ Our Links:   Smartphone Filmmaking Publication on Medium: https://medium.com/smartphonefilmmaking    Subscribe, support and listen to bonus episodes and more on Patreon: http://patreon.com/sbppodcast   SBP Podcast Website: http://sbppodcast.studio    Video and Film Streaming Distribution for Smartphone Films: http://mobilefilmstories.com    International Mobile Film Festival Website: http://internationalmobilefilmfestival.com   Facebook: http://facebook.com/sbppodcast   Twitter: http://twitter.com/sbppodcast   Instagram: https://www.instagram.com/mobilefilmsd/   iTunes/Apple Podcasts: https://itunes.apple.com/us/podcast/sbp-podcast/id1296673665      Susy Botello on Twitter: http://twitter.com/susybotello   SBP Podcast on Spotify: https://open.spotify.com/show/4ISEF0SZOLyRpw20loXzlo#upsell   Podchaser: https://www.podchaser.com/podcasts/sbp-podcast-mobile-filmmaking-928180    YouTube: https://www.youtube.com/user/mobilfilmfestival?sub_confirmation=1   © Copyright 2021 S. Botello Productions™. All rights reserved.

I can't be more excited about the conversation I'm about to share with you. Today on the show we have filmmaker and indie film legend Albert Hughes. Albert, along with his brother Allen began making movies at age 12, but their formal film education began their freshman year of high school when Allen took a TV production class. They soon made the short film The Drive-By and people began to take notice.After high school Albert began taking classes at LACC Film School: two shorts established the twins' reputation as innovative filmmakers. Albert and his brother then began directing music videos for a little known rapper named Tupac Shakur. These videos lead to directing their breakout hit Menace II Society (1993), which made its world premiere at the Cannes Film Festival and grossed nearly 10 times as much as its $3 million budget. Albert followed up that success with Dead Presidents (1995).On the streets, they call cash dead presidents. And that's just what a Vietnam veteran (Larenz Tate) is after when he returns home from the war only to find himself drawn into a life of crime. With the aid of his fellow vets, he plans the ultimate heist -- a daring robbery of an armored car filled with unmarked U.S. currency!Albert continued displaying his highly stylized and visual filmmaking with From Hell (2001) starring Johnny Depp and The Book of Eli (2010) starring Oscar winners Denzel Washington and Gary Olman.The Book of Eli has the distinction of being the first studio feature film shot on the RED Camera. In the example below, you can see how Albert pushed the camera to its limits with the ground-breaking color grade he gave the film.Most recently Albert brought to the screen the epic film Alpha (2018). The project was shot on the Arri ALEXA 65 for a truly larger than life experience.An epic coming-of-age adventure set in the last Ice Age. A young boy becomes unlikely allies with a lone wolf, enduring countless dangers and overwhelming odds to survive the harsh wilderness and find their way home before the deadly winter arrives.My conversation with Albert was EPIC. We began the episode aiming for our standard 60-90 min run time but we were having such a good time talking shop we just kept going. The final episode clocks in around 3 hours and it was, by far, one of the best times I have ever had on the Indie Film Hustle Podcast.Two filmmakers talking shop and telling stories. We discuss his public beef with Tupac, his rise after the breakout success of Menace II Society, how he navigated the shark-infested waters of Hollywood, working on big-budget studio films, his creative process and Albert even throws in a story about how he stood up to Harvey Weinstein while the disgusting predator was still a power-player in the business.Do yourself a favor and listen to the entire episode. There are knowledge bombs drop throughout!Enjoy my EPIC conversation with Albert Hughes.

El Editando Podcast 27 te actualiza con las novedades del Cine y el Audiovisual en la semana que recién termina. Grabado en vivo a través de "instagram live" cada viernes desde las 16 horas de Chile. En este episodio: TENET, le damos seguimiento a las novedades con la última película de Christopher Nolan. ¿Sabías que compró un avión 747 real, para estrellarlo en la película? Nos preparamos para recibir la despedida de "Indiana Jones" en su quinta entrega al mando del director James Mangold. Todo indica que será una despedida con muchas lágrimas. ARRI Alexa celebra sus 10 años como lider en la cinematografía mundial. Sony lanza, a propósito de cámaras, una para videobloggers, la VZ-1. Te contamos sobre sus características. La guerra del streaming está desatada cuando esta semana inició sus funciones en USA, la plataforma HBO MAX y Disney + entra en el mercado japonés. Y a propósito, por qué nos recortaban a Los Simpsons, te lo contamos en detalle. Mientras tanto, youtube se rinde y tenemos a la tercera temporada de KOBRA KAI pendiendo de un hilo y en busca de plataforma que le asegure al menos una tercera y cuarta temporadas. Y el maestro Scorsese sigue imparable y ya cuenta con presupuesto y luz verde para su nueva película de la mano de Apple y Paramount. Al cierre encuentra buenas recomendaciones para seguir en Amazon Prime. Daniel Mora te cuenta de su serie documental favorita :D Escucha - Comenta y Comparte el #EDITANDOPODCAST en las distintas plataformas y comparte en tus redes sociales. Así ayudas a este par de gordos audiovisuales para quién sabe, algún día tener un acuerdo de exclusividad con Spotify. Estamos en Instagram como @editandocl www.editando.cl

Es hora de ponernos técnicos. En este episodio nos acompaña Wycho Mojica desde su rancho en Jalisco para platicar sobre la importancia de conocer tus herramientas en el cine, trabajes con una Arri Alexa o con una Canon T6.

On this week's episode, Carolyn sits down with director Sam Mendes and cinematographer Roger Deakins to discuss their innovative World War I film, '1917'. They share how they achieved the illusion of one continuous take throughout the film, which scenes were most difficult to capture, and how weather played a large part in the production.In this podcast series, Carolyn Giardina, Tech Editor for The Hollywood Reporter, extends her coverage of the filmmaking crafts. She will be talking with the cinematographers, editors, production designers, composers, visual effects supervisors, and other leading artists that bring the magic of motion pictures to theaters. Subscribe now to receive episodes of this inspired new series that shines a light on the artists that spend most of their time behind the screen.

I am excited and thrilled to have the honor of interviewing the cinematographer Roberto Schaefer ASC. He has been the director of photography on some of my favorite films, “Monster Ball,” and “Stranger Than Fiction,” and “Quantum of Solace” featuring Daniel Craig, Olga Kurylenko, Judy Dench, and Gemma Arterton. Roberto has been extremely kind to find time in his busy schedule to talk about his work and the visual turn that the iconic series took with his decisions as a cinematographer. On this podcast, we speak about: Roberto being the first cinematographer to use an Arri Alexa instead of Panavision, for a James Bond movie. Testing the first Red One camera. Everyone in the industry being upset with Red at the beginning, coming out of nowhere. “They weren’t one of the old school.” Roberto Schaefer. Halle Berry didn’t hold back, a very giving actor. “Even if you’re shooting on film, everything goes on a digital domain so now, the latitude is there, and there is so much you can do in post, you can change everything.” Roberto Schaefer. Being a part off the ASC. Specific crews don’t have the background for major Hollywood films. Why Roberto Schaefer is against giving out awards - we win as a team. “I’m convinced there are so many actors, writers, and cinematographers that never get what they want because they are in the wrong place.” Roberto Schaefer If you liked this podcast, shoot me an e-mail at filmmakerswaby@hotmail.com Also, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=true Damien Swaby Social Media Links: Instagram www.instagram.com/damien_swaby_video_producer/ Twitter https://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Facebook https://www.facebook.com/Damien-Swaby-213805135363397/

I am excited and thrilled to have the honor of interviewing the cinematographer Roberto Schaefer ASC. He has been the director of photography on some of my favorite films, “Monster Ball,” and “Stranger Than Fiction,” and “Quantum of Solace” featuring Daniel Craig, Olga Kurylenko, Judy Dench, and Gemma Arterton. Roberto has been extremely kind to find time in his busy schedule to talk about his work and the visual turn that the iconic series took with his decisions as a cinematographer. On this podcast, we speak about: Roberto being the first cinematographer to use an Arri Alexa instead of Panavision, for a James Bond movie.Testing the first Red One camera.Everyone in the industry being upset with Red at the beginning, coming out of nowhere. “They weren't one of the old school.” Roberto Schaefer.Halle Berry didn't hold back, a very giving actor. “Even if you're shooting on film, everything goes on a digital domain so now, the latitude is there, and there is so much you can do in post, you can change everything.” Roberto Schaefer.Being a part off the ASC.Specific crews don't have the background for major Hollywood films.Why Roberto Schaefer is against giving out awards - we win as a team. “I'm convinced there are so many actors, writers, and cinematographers that never get what they want because they are in the wrong place.” Roberto SchaeferIf you liked this podcast, shoot me an e-mail at filmmakerswaby@hotmail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=trueDamien Swaby Social Media Links:Instagram www.instagram.com/damien_swaby_video_producer/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorFacebookhttps://www.facebook.com/Damien-Swaby-213805135363397/

On this special episode of Behind The Screen, Carolyn is joined by six of the industry's leading cinematographers, including: Roger Deakins ('1917' and 'The Goldfinich'), Natasha Braier ('Honey Boy'), César Charlone ('The Two Popes'), Caleb Deschanel ('The Lion King'), Rodrigo Prieto ('The Irishman'), and Robert Richardson ('Once Upon a Time in Hollywood'). The group discusses diversity in filmmaking, approaches to collaborating with directors, and much more.In this podcast series, Carolyn Giardina, Tech Editor for The Hollywood Reporter, extends her coverage of the filmmaking crafts. She speaks with the cinematographers, editors, production designers, composers, visual effects supervisors, and other leading artists that bring the magic of motion pictures to theaters. Subscribe now to receive episodes of this inspired new series that shines a light on the artists that spend most of their time behind the screen.

Stuart Dryburgh, cinematographer for Men In Black International, joins Go Creative Show host, Ben Consoli, to discuss creating the look for the film. Stuart talks about the challenges of working in an established franchise, filming in NYC in the snow, why Stuart prefers Arri Alexa cameras, his lighting and lens choices for the film, shooting action scenes, and more! Subscribe Now! What you will learn in this episode The cinematography of Men In Black International The challenges of working on an established franchise Filming in New York City in the snow Lighting techniques for Men in Black International Why Stuart prefers Arri Alexa cameras Stuart’s lens choices for Men in Black International The color of Men in Black International Shooting action scenes Lighting action scenes The Go Creative Show is supported by: Premium Beat Rule Boston Camera Hedge Shutterstock Magnanimous Rentals PremiumBeat.com Song of the Week Swimming in the Pool by Krisztian Vass Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio Follow Our Guest Stuart Dryburgh's website Stuart Dryburgh's Twitter Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram   Follow Matt Russell Gain Structure Sound Twitter

ARRI's Sean Dooley takes us deep into the workings of the newly announced Alexa Mini LF and what to expect from the camera that so many cinematographers have been waiting for.

Hisonni and Alberto operate in Las Vegas as a tag-team filmmaking duo. As Arri Alexa owner/operators, they shoot multicam coverage on each other's films to maximize efficiency with matching camera systems. This episode explores their rationale behind owning their own equipment rather than traditionally renting through production.

Ob iPhone, GoPro oder Arri Alexa - wenn der Film nicht gut ist, brauchen wir über die verwendeten Kameras eigentlich gar nicht erst reden.

A YouTube commenter suggests Griffin is wrong to call himself a “filmmaker,” because he doesn’t shoot on celluloid film. But most of the last 10 Best Cinematography Academy Award winners were shot with digital ARRI ALEXA cameras.

How to Make Money Renting Your Film Gear with ShareGrid's Brent BarbanoHave you ever wanted to make a little extra cash with that film gear sitting in your closet? Have you ever wanted o rent that new Arri ALEXA but were afraid you couldn't afford it? Well, I came across the solution for both problems, it's call ShareGrid.ShareGrid is a per to per community, think Airbnb for filmmakers, that allows list film gear for rental or rent gear directly from other filmmakers with instant insurance. I reached out to Brent Barbano, co-founder of Sharegrid to discuss how he built this community up, talk about how to be a working cinematographer and just talk shop.Heres a couple of videos explain what ShareGrid is all about.  Enjoy my conversation with ShareGrid Co-Founder Brent Barbano.

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder give the secret to shots that smoothly pan from dark to light and introduce a filmmaker whose work has started a global conversation. We celebrate Women’s History Month with Ava DuVernay’s Twitter takeover. We also get advice from four-time Sundance director Tiffany Shlain. Later, we preview this week’s SXSW Film Festival, tech writer Charles Haine joins us with gear news, including our lens test comparing five different Anamorphics on RED Weapon vs. ARRI Alexa, and Dutch director Martin Koolhoven discusses his new film 'Brimstone'. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com

Suki Medencevic ASC and the Art of CinematographyI have found over the years that is one of the biggest technical issues in independent film. Someone borrows a friends RED Camera or Arri Alexa and thinks that's all you need. Cinematography is not only a mystical art but imperitive in today's gluttony of indie films in the market place.Good cinematography can really make your independent film project rise out of the gutter of poorly produced indie films. Today on the show I interview Suki Medencevic ASC (American Society of Cinematographers).For all the show notes goto: http://www.indiefilmhustle.com/009

Get ready Horror fans! This week we sit down with the filmmakers of HAG official selection at the upcoming Comic Con International Film Festival. This short horror film is BIG on production. Shot on the ARRI Alexa digital cinema camera, it looks amazing and boasts some spectacular makeup from FACEOFF alum Eric Fox. Writer/Director Erik Gardner and Producer/Editor Michael Alberts from Scaryopolis Productions talk about their filmmaking partnership, love for the Horror genre, and give lots of critical advice to indie filmmakers with big ideas and small budgets. HAG - You are what she eats.

We talk directly to ARRI about the newly announced ALEXA Mini.

播客《硬影像》的创始人罗登先生在本期中和李如一讨论了 iPhone / iPad 作为专业设备的可能性。宾利和 Burberry 用 iPhone 5s 拍广告片，是否真的意味着 iOS 设备可以取代专业设备？答案当然不是两句话可以说清楚的。罗登系影视行业从业人员，对于高清、4K 摄像有丰富的经验。本期里他不但分享了自己的观点，还不小心说出了一个行业秘密。 相关链接 罗登的网站 罗登的知乎页面 罗登的播客：《硬影像》 Vizzywig 4K 目前在 iOS 8 下有问题，开发者已将其撤下，稍后会重新提交。 RED 艾丽莎数字摄像机（Arri Alexa） Amira Sony F35 脱口秀主持人 Jimmy Fallon 和摇滚歌手 Billy Joel 利用 Loopy HD 二重唱 Loopy Camera Noir 8mm Vintage Camera 人物简介 李如一：字节社创始人。 罗登：影视业者，播客《硬影像》创始人。

Cinematographer Goert Giltay, NSC, and director Jos Stelling join AC’s Iain Marcks on a Skype call from the Netherlands to discuss their approach to the drama The Girl and Death. The longtime collaborators cover the choice of shooting digitally with an Arri Alexa, how they achieved the expressionistic visuals, and the flexible lighting approach that was necessitated by the actors’ availability.

Cinematographer Goert Giltay, NSC, and director Jos Stelling join AC’s Iain Marcks on a Skype call from the Netherlands to discuss their approach to the drama The Girl and Death. The longtime collaborators cover the choice of shooting digitally with an Arri Alexa, how they achieved the expressionistic visuals, and the flexible lighting approach that was necessitated by the actors’ availability.

When the 69 year old film director Martin Scorsese decided that he needed a break from violence and pain, the world took note. His 2011 family film 'Hugo' sent many critics head over heels as they cheered its technical triumph. However, as we'll see, not everyone was intoxicated by the stunning visual display. Firstly, let's unveil the mysterious glamour that charmed the critics and the Academy. Scorsese was inspired by his 12 year old daughter who presented him with a copy of Brian Selnick's novel 'The Invention of Hugo Cabret' and suggested that he make it into a 3D movie. This is the back story to Scorsese's first PG rated film in 18 years. Regardless of whether he was trying to please his daughter or not, Martin is pretty serious about the use of 3D visual effects, and his exercise using the Fusion Camera technique drew the admiration of James Cameron, who referred to it as a "masterpiece." But his emphasis on visual effects did not stop with the 3D aspect of the film; he also utilized the best Arri Alexa camera, which, combined with the ingenuity of Robert Richardson and intense editing, created the most spectacular visuals that eventually secured the Award for Best Visual Effects at the 84th Academy Awards. The digitally enhanced recreation of Gare Montparnasse and the occasional rooftop overviews of Paris' streets, all of which dated back to the 1930s, provided more than enough for the eyes to explore, and instantly took audiences back to Charles Dickens' London of hungry orphans, runaway wives and courtly dialogue with big words. However, the story is problematic, especially when you care to look closely. I believe the majority of Martin Scorsese's focus was placed on producing this mysterious ambience of a children's story, and in doing so he neglected logic. At the beginning of this piece, when the automaton appeared, I expected a steampunk science fiction presentation; similar to that of Bicentennial Man by Chris Columbus. But halfway into the film, the idea of cinema and adventure took charge, and it was only after the last voiceover that I realized Hugo was actually a family film. I'm not blaming Scorsese for causing me to fail my favorite guessing game, but YES, look how confused I was. The story is confusing because Scorsese tries to achieve too much within 126 minutes. Aside from telling a children's story, he has also tried to pay tribute to movie pioneer George Melies. Other insignificant additions, such as bemoaning the loss of the war and recreating a train derailment, contributed nothing to the main theme of family. So, as you see, Martin Scorsese's success with visual effects was remarkable, but the unattended storyline could bore even the least critical of children. Ultimately, Hugo could give you the perfect night with your kids: you take them to the cinema; you observe the excitement in their eyes when the story begins; and when they are sound asleep, you take them home straight to the bed. On my scale from one to ten, Hugo gets a six, including bonus points due to the visuals.

This week we focus on story, shot design and focus on the Arri Alexa. In this special episode we have two Red Room interviews: Anna Foerster DOP of Anonymous and Gareth Neame about Downton Abbey.

NAB 2010 episode including live from the Post Pit on NAB floor plus exclusive coverage of RED Epic, Arri Alexa, new DaVinci Resolve pricing, Red Rock Micro's cool microRemote... plus a whole lot more!