Utilising Natural Lighting & Long Takes / Ben Davis
In this weeks episode Ben Davis talks to COT about how to utilise natural lighting. How can you use the location to your advantage? How should one shots be used?
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Using colour in cinematography / Seamus McGarvey
In this episode Seamus talks to Cooke Optics TV about the use of colour in his films. He tells COT about what characteristics some colours can have and how they can be used to create emotion or define a character.
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Cinematography Masterclass: Filming Night Scenes
Cooke Optics TV presents the first of a new roundtable series featuring world-renowned cinematographers. In this masterclass, they discuss some of the best approaches to filming exterior night shots. Topics include types of lighting fixtures to use, handling locations and permissions and cinematography techniques.
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How & Why I choose lenses / Bradford Young
In this weeks episode Cooke Optics TV discuss with Bradford the steps he takes into choosing his lenses. Why is getting closer to the subject better? What effect does it create?
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ARRI interviews Roger Deakins CBE, ASC, BSC and James Deakins for virtual Camerimage
At the 2020 virtual Camerimage festival, ARRI hosted an online discussion with cinematographer Roger Deakins and his collaborator James Deakins. Stephan Ukas-Bradley from ARRI in Los Angeles, who has helped support the Deakinses over many years and projects, covered topics such as the “Team Deakins” podcast, collaborations with different directors, creative processes, and the impact…
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ARRI TECH TALK Live: One-Takers with TRINITY
Charlie Rizek, TRINITY operator of “1917,” and product developer Curt Schaller, talk about all things TRINITY. Charlie used the TRINITY on a variety of sets, such as music videos, where one-takers are crucial. He gives further insights into his experiences and the transition to producing not only music videos, but world-known feature films and TV…
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See The Creative Technology Behind This Year’s Super Bowl Ads | TODAY
For Weekend TODAY, NBC’s Kerry Sanders gets a firsthand look at how companies are using creative technology to produce Super Bowl ads in the age of COVID-19. The final products look so real that you can’t always believe your eyes, Kerry says.
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Pennyworth Season 2 VFX Breakdown, Rumble VFX
A VFX breakdown of Pennyworth Season 2.
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The Camera Behind Just Mercy
Cinematographer Brett Pawlak and LightIron Supervising Colorist Ian Vertovec discuss the use of Panavision’s DXL2 camera to capture the powerful film Just Mercy. Primo Artiste & H Series lenses were paired with Light Iron’s post services, making for a complete visual storytelling workflow.
