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ARRI ALEXA Takes on MTV's 'Teen Wolf'
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May 25, 2011
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Before director of photography Jonathan Hall worked on the new MTV series Teen Wolf, he had shot primarily on film with the exception of one digital project that he shot on the Sony F35 camera. With the ARRI ALEXA at his
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In a Better World
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by Jon Silberg May 24, 2011
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When cinematographer Morten Søborg and director Susanne Bier began their highly productive collaboration on small Danish productions including Once in a Lifetime and Open Hearts, they probably weren’t thinking in terms of winning
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Clip: Nicolas Winding Refn's 'Drive'
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May 23, 2011
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Nicolas Winding Refn's Drive debuted at Cannes last week winning Refn the best director award at the film festival. The film, about a stunt driver by day and getaway driver by night (played by Ryan Gosling), won't open in U.S.
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New Time-Lapse Movie Shows Cosmic Crab in Action
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May 17, 2011
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Almost one thousand years ago, a massive star died, leaving behind the famed Crab Nebula. Now, a new time-lapse movie from NASA's Chandra X-ray Observatory shows how the collapsed core of the dead star pulses to churn up the
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Interview with 'Tree of Life' DP Emmanuel Lubezki, AMC
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May 16, 2011
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"[Working with Terrence Malick] differs completely and in every possible way. Terry does not impose himself on the situation the way a conventional Hollywood movie director might."
So says The Tree of Life DP Emmanuel Lubezki,
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Shooting Malick's 'The Tree of Life'
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May 12, 2011
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Ever wonder what it could possibly be like to be Terrence Malick's DP? ICG Magazine profiles Malick's The Tree of Life camera crew, including DP Emmanuel “Chivo” Lubezki, ASC, AMC.
Lubezski exposed over a million feet of
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The 1970s Come to Life on HBO's 'Cinema Verite'
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Apr 29, 2011
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HBO's Cinema Verite is a fictionalized account of the groundbreaking documentary An American Family, the 12-part PBS series that told the story of the the Loud family. To recreate the indelibly -- and crucial -- 1970s look of the
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'Pina' Director Wim Wenders Talks the Basic and Emotional Language of Dance
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Apr 27, 2011
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When iconic filmmaker Wim Wenders was making plans to shoot 'Pina,' he didn't know that it would end up being an elegy to his late friend, choreographer Pina Bausch. Unfortunately, Bausch died unexpectedly just before filming
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Atomos Ninja Review
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Apr 26, 2011
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Christina Fox of UrbanFox.TV Blog has got a very thorough review of the Atomos Ninja, the on-camera recorder that enables users to bypass their camera's compression and record at a higher bit-rate. Testing it out on a few
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Terrence Malick Film Festival at the Museum of the Moving Image
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Apr 21, 2011
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The Museum of the Moving Image, located in Astoria, Queens, is offering a retrospective festival of the films of legendary American director, Terrence Malick. It's hard to believe that the highly-lauded Malick has only directed
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Encore Puts IIF-ACES Workflow to the Test on FX's 'Justified'
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Apr 07, 2011
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Hollywood, Calif. -- April 8, 2011. Utilizing the long-anticipated IIF-ACES workflow in its first real-world application, Encore colorist Pankaj Bajpai put the workflow to the test on the popular FX series, "Justified," shot by
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Lighting the Darkness of 'Black Swan'
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Feb 16, 2011
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Talk about revolutionary. Filmmaker Darren Aronofsky’s latest R-rated
film Black Swan just might have created its own new genre –– the noir
thriller horror ballet film –– thanks to its melodramatic, pulpy plot
and dark,
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Exposure: Darren Aronofsky
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Feb 16, 2011
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Darren Aronofsky is a confirmed New Yorker. Born in
Brooklyn to parents who were both teachers, he was trained as a research
biologist with The School for Field Studies at a ranch in Kenya and
Prince William Sound, Alaska.
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Deakins, Coen Brothers Take on True Grit
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Feb 13, 2011
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Roger Deakins, ASC, BSC will receive the American Society of
Cinematographers Lifetime Achievement Award in February, recognizing an
extraordinary body of work. But Deakins, who counts eight Oscar®
nominations among
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Anthony Dod Mantle and Enrique Chediak's Odd Pairing for 127 Hours
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Dec 10, 2010
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It could have been a volatile mix with both
serving as cinematographers on Danny Boyle's '127 Hours.' But they grew
to appreciate the setup — and each other. Usually, two names under a screen credit for cinematography means
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