As a part of his Oscars 2024 winning speech, Oppenheimer’s cinematographer – Hoyte van Hoytema, advises filmmakers to shoot on film. “It’s much easier than you think,” he says. What do you think of his advice?
Hoyte van Hoytema Talks About Film, Large Format, and Nolan
To all aspiring filmmakers out there, I would like to say please try shooting with that incredible, new, hip thing called ‘celluloid. It’s much easier than you think. And it makes things look so much better.
Oppenheimer Dp – Hoyte van Hoytema Hoyte takes the Oscars
It’s not a secret that the acclaimed IMAX cinematographer and Christopher Nolan’s cinematic partner, Hoyte Van Hoytema Nsc Fsf ASC, loves shooting on film. He has said before that he trusts celluloid and doesn’t want to shoot on digital. Indeed, it was worth it, as Hoytema took the Oscars 2024 Cinematography award for Oppenheimer. Furthermore, during...
Hoyte van Hoytema Talks About Film, Large Format, and Nolan
To all aspiring filmmakers out there, I would like to say please try shooting with that incredible, new, hip thing called ‘celluloid. It’s much easier than you think. And it makes things look so much better.
Oppenheimer Dp – Hoyte van Hoytema Hoyte takes the Oscars
It’s not a secret that the acclaimed IMAX cinematographer and Christopher Nolan’s cinematic partner, Hoyte Van Hoytema Nsc Fsf ASC, loves shooting on film. He has said before that he trusts celluloid and doesn’t want to shoot on digital. Indeed, it was worth it, as Hoytema took the Oscars 2024 Cinematography award for Oppenheimer. Furthermore, during...
- 3/13/2024
- by Yossy Mendelovich
- YMCinema
Michael Mann’s “three decades of research” provided the key to putting audiences in the driver’s seat of vintage Ferraris racing down a thousand miles of Italian roads that are well known for taking human lives.
That’s what “Ferrari” cinematographer Erik Messerschmidt discovered when he teamed with the director of crime classics such as “Heat” and TV’s “Miami Vice” to tell the story of Enzo Ferrari, founder of Italy’s most iconic racing car company, played by Adam Driver.
“I asked him what I should look at and Michael said, ‘Why don’t you start with my library.’”
Messerschmidt, himself known for exacting work on such films as “Citizen Kane” backstory “Mank,” which won him an Oscar, learned that Mann had indeed been researching Ferrari for 30 years. The director had accumulated hundreds of books, photos, newsreels, clippings and letters documenting every aspect of Ferrari’s life, the early days of auto racing,...
That’s what “Ferrari” cinematographer Erik Messerschmidt discovered when he teamed with the director of crime classics such as “Heat” and TV’s “Miami Vice” to tell the story of Enzo Ferrari, founder of Italy’s most iconic racing car company, played by Adam Driver.
“I asked him what I should look at and Michael said, ‘Why don’t you start with my library.’”
Messerschmidt, himself known for exacting work on such films as “Citizen Kane” backstory “Mank,” which won him an Oscar, learned that Mann had indeed been researching Ferrari for 30 years. The director had accumulated hundreds of books, photos, newsreels, clippings and letters documenting every aspect of Ferrari’s life, the early days of auto racing,...
- 11/20/2023
- by Will Tizard
- Variety Film + TV
Interestingly but not surprisingly, the acclaimed director Martin Scorsese has used a very special combination to shoot the masterpiece ‘Killers of the Flower Moon’. The movie was shot by his cinematic partner, Rodrigo Prieto Stambaugh, ASC, AMC, on the Arricam (St & Lt), combined with the Sony Venice and Scorsese’s own 1917 Bell & Howell.
Behind the scenes of ‘Killers of the Flower Moon’ – Scorsese’s own 1917 Bell and Howell. Picture credit – IMDb ‘Killers of the Flower Moon’
Martin Scorsese’s ‘Killers of the Flower Moon’ is one of the contenders for the 96th Academy Awards (Oscar 2024). The movie is a 2023 American epic revisionist Western crime drama that is based on the 2017 book of the same name by David Grann. Its plot centers on a series of Oklahoma murders in the Osage Nation during the 1920s, committed after oil was discovered on tribal land. Leonardo DiCaprio, Robert De Niro, and Lily Gladstone lead an ensemble cast,...
Behind the scenes of ‘Killers of the Flower Moon’ – Scorsese’s own 1917 Bell and Howell. Picture credit – IMDb ‘Killers of the Flower Moon’
Martin Scorsese’s ‘Killers of the Flower Moon’ is one of the contenders for the 96th Academy Awards (Oscar 2024). The movie is a 2023 American epic revisionist Western crime drama that is based on the 2017 book of the same name by David Grann. Its plot centers on a series of Oklahoma murders in the Osage Nation during the 1920s, committed after oil was discovered on tribal land. Leonardo DiCaprio, Robert De Niro, and Lily Gladstone lead an ensemble cast,...
- 10/27/2023
- by Yossy Mendelovich
- YMCinema
The Apple TV+ ‘Physical’ S3 was shot by Cinematographer Jimmy Lindsey ASC on the Arri Alexa Mini Lf paired with a specially made B-Series Vintage 2x Anamorphic glass by Panavision. This unique lens was designed to grant a “creamy vintage feel with soft edge focus and classic 1970s flare characteristics”. Read more about it down below.
Behind the scenes of Physical season 3. Picture: Apple Physical: a 1980s ‘look & feel’
Here is a nice item for Friday night. Set in the idyllic but fragile beach paradise of sunny 1980s San Diego, Physical is a half-hour dark comedy following Sheila Rubin (Byrne), a quietly tortured, seemingly dutiful housewife supporting her smart but controversial husband’s bid for state assembly. But behind closed doors, Sheila has her own darkly funny take on life she rarely lets the world see. She’s also battling a complex set of personal demons relating to her self-image…...
Behind the scenes of Physical season 3. Picture: Apple Physical: a 1980s ‘look & feel’
Here is a nice item for Friday night. Set in the idyllic but fragile beach paradise of sunny 1980s San Diego, Physical is a half-hour dark comedy following Sheila Rubin (Byrne), a quietly tortured, seemingly dutiful housewife supporting her smart but controversial husband’s bid for state assembly. But behind closed doors, Sheila has her own darkly funny take on life she rarely lets the world see. She’s also battling a complex set of personal demons relating to her self-image…...
- 9/1/2023
- by Yossy Mendelovich
- YMCinema
In keeping with Christopher Nolan’s preference for shooting in-camera practical effects whenever possible — and a desire to steer clear of CGI on “Oppenheimer” — the director created his own real-life VFX Manhattan Project to create the subatomic world and Trinity atomic blast. That’s why VFX supervisor Andrew Jackson was the first crew member Nolan asked to read his script.
“He needed me to get on board really early to start investigating what we could do,” Jackson told IndieWire. “And in that first discussion, we looked at the options. At one end of the spectrum, there’s trying to reproduce the subatomic electrons orbiting a nucleus and an atom spinning at trillions of times a second because the film is so much about trying to experience the story through the mind of Oppenheimer [Cillian Murphy], and we were trying to visualize what might be going on in his head at...
“He needed me to get on board really early to start investigating what we could do,” Jackson told IndieWire. “And in that first discussion, we looked at the options. At one end of the spectrum, there’s trying to reproduce the subatomic electrons orbiting a nucleus and an atom spinning at trillions of times a second because the film is so much about trying to experience the story through the mind of Oppenheimer [Cillian Murphy], and we were trying to visualize what might be going on in his head at...
- 8/10/2023
- by Bill Desowitz
- Indiewire
In a very educating interview held by American Cinematographer, with ASC associate member and Panavision Senior Vice President of Optical Engineering and Lens Strategy Dan Sasaki, the lens behind Oppenheimer is revealed. Let’s read more about this “wide-angle microscope” lens (as defined by Dp Hoyte van Hoytema).
ASC associate member, Panavision Senior Vice President of Optical Engineering and Lens Strategy Dan Sasaki, and the IMAX camera with optical relay on set. (Image courtesy of Universal Pictures.) Prob lens for IMAX
We wrote a couple of articles regarding the lenses that shot Christopher Nolan’s Oppenheimer. Dp Hoyte van Hoytema has asked Panavision to develop a dedicated prob lens, to b paired on the IMAX camera in order to allow macro /micro shots. These shots were so important for the crew to reduce VFX and apply a more practical approach as Nolan’s style dictates. He even said that they...
ASC associate member, Panavision Senior Vice President of Optical Engineering and Lens Strategy Dan Sasaki, and the IMAX camera with optical relay on set. (Image courtesy of Universal Pictures.) Prob lens for IMAX
We wrote a couple of articles regarding the lenses that shot Christopher Nolan’s Oppenheimer. Dp Hoyte van Hoytema has asked Panavision to develop a dedicated prob lens, to b paired on the IMAX camera in order to allow macro /micro shots. These shots were so important for the crew to reduce VFX and apply a more practical approach as Nolan’s style dictates. He even said that they...
- 8/4/2023
- by Yossy Mendelovich
- YMCinema
Not every director has the privilege of shooting with IMAX film cameras. Furthermore, not every filmmaker/director/cinematographer dares to do unconventional shooting with these huge massive boxes. However, in Oppenheimer, Dp Hoyte van Hoytema and Director Christopher Nolan broke some boundaries regarding how IMAX cameras can be used on movie sets. And we’re talking about macro/micro photography on IMAX. Explore Hoytema’s thoughts below.
Cinematographer Hoyte van Hoytema operating an IMAX camera on the set of Oppenheimer Talking about IMAX cinematography
Collider interviewed Hoytema regarding his role as a cinematographer on Oppenheimer. Actually, we feel that we wrote too many articles on this Nolan masterpiece, but every interview and every piece of information reveals to us something new that our readers would love to know about. In that interview, Hoytema elaborates on the challenges of shooting with IMAX film cameras, and their pros, and cons, which our readers know very well about.
Cinematographer Hoyte van Hoytema operating an IMAX camera on the set of Oppenheimer Talking about IMAX cinematography
Collider interviewed Hoytema regarding his role as a cinematographer on Oppenheimer. Actually, we feel that we wrote too many articles on this Nolan masterpiece, but every interview and every piece of information reveals to us something new that our readers would love to know about. In that interview, Hoytema elaborates on the challenges of shooting with IMAX film cameras, and their pros, and cons, which our readers know very well about.
- 8/1/2023
- by Yossy Mendelovich
- YMCinema
It appears that Oppenheimer was shot on specially modified fast Panavision Sphero and System 65 lenses. Even more interestingly, a dedicated snorkel lens was made for the IMAX cameras, to capture extreme macro shots of some ultra-intriguing scientific stuff.
Dp Hoyte van Hoytema at the IMAX film camera with director Christopher Nolan during production on Oppenheimer. Photo by Melinda Sue Gordon/Universal Pictures. © Universal Studios. All Rights Reserved. Shot on large format glass
Now everybody knows that Christopher Nolan’s Oppenheimer was shot with unconventional methods by Director of Photography Hoyte van Hoytema. The IMAX film cameras were used to capture objects with minimal (to zero – as stated by Nolan) CGI and VFX layers. Indeed, as mentioned by Hoytema before the release of the movie, there was a particular emphasis on capturing actors’ faces, amplified by IMAX Mkiv, and IMAX Msm 9802 cameras, bringing this mighty 18K resolution of enhanced motions and dramaturgy.
Dp Hoyte van Hoytema at the IMAX film camera with director Christopher Nolan during production on Oppenheimer. Photo by Melinda Sue Gordon/Universal Pictures. © Universal Studios. All Rights Reserved. Shot on large format glass
Now everybody knows that Christopher Nolan’s Oppenheimer was shot with unconventional methods by Director of Photography Hoyte van Hoytema. The IMAX film cameras were used to capture objects with minimal (to zero – as stated by Nolan) CGI and VFX layers. Indeed, as mentioned by Hoytema before the release of the movie, there was a particular emphasis on capturing actors’ faces, amplified by IMAX Mkiv, and IMAX Msm 9802 cameras, bringing this mighty 18K resolution of enhanced motions and dramaturgy.
- 7/25/2023
- by Yossy Mendelovich
- YMCinema
Panavision is trying a new super-fast (T1.4) large-format prime lens. This prototype has been tested on several productions. The new lens is named for the street Panavision Woodland Hills is on “Variel Ave”.Here is what cinematographers have to say about this new glass.
Panavision Va Large-Format Prime prototype. Picture: Peter Deming ASC Panavision Va T1.4 Large-Format prototype
Panavision is prototyping a new large-format super-fast glass with T1.4. Currently, the Panaspeed lenses own this super fast aperture. The Panaspeed spherical primes are defined as high-speed, large-format companions to 35mm-format spherical Primo optics. Anyway, the new T1.4 is called Va Large-Format Primes (Va for the street Panavision Woodland Hills is on “Variel Ave” – according to Reddit user ‘NarrowMongoose‘). The prototype has been spotted in several productions. The VAs were mainly paired with the Sony Venice, Millennium DXL2, and Red Monstro cameras, which means, they are dedicated to covering Vista Vision sensors.
Panavision Va Large-Format Prime prototype. Picture: Peter Deming ASC Panavision Va T1.4 Large-Format prototype
Panavision is prototyping a new large-format super-fast glass with T1.4. Currently, the Panaspeed lenses own this super fast aperture. The Panaspeed spherical primes are defined as high-speed, large-format companions to 35mm-format spherical Primo optics. Anyway, the new T1.4 is called Va Large-Format Primes (Va for the street Panavision Woodland Hills is on “Variel Ave” – according to Reddit user ‘NarrowMongoose‘). The prototype has been spotted in several productions. The VAs were mainly paired with the Sony Venice, Millennium DXL2, and Red Monstro cameras, which means, they are dedicated to covering Vista Vision sensors.
- 2/13/2023
- by Yossy Mendelovich
- YMCinema
Baz Luhrmann’s “Elvis” is an overwhelming sensory experience in which all the tools of cinema are utilized to convey not only what it was like to watch and hear Elvis Presley (Austin Butler) in his prime but what it was like to be Elvis — and what it was like to be Colonel Tom Parker (Tom Hanks), the man who both elevated and exploited The King of Rock ‘n’ Roll. The movie meticulously recreates the surface details of Presley’s life and times but goes further to convey the emotional state of American culture at large in the decades during which Elvis was at its center — and how that emotional state transformed across the decades.
In the videos below, cinematographer Mandy Walker, production and costume designer Catherine Martin, and editors Jonathan Redmond and Matt Villa discuss how their attention to journalistic detail intersected with an expressionistic approach to create a...
In the videos below, cinematographer Mandy Walker, production and costume designer Catherine Martin, and editors Jonathan Redmond and Matt Villa discuss how their attention to journalistic detail intersected with an expressionistic approach to create a...
- 12/14/2022
- by Jim Hemphill
- Indiewire
Cinematographer Autumn Durald Arkapaw Is Bringing a Visual Subtlety to the Marvel Cinematic Universe
The week after “Black Panther: Wakanda Forever” claimed its spot at the top of the box office, the film’s director of photography found herself simultaneously delighted and exhausted by the film’s success.
“This is new to me, honestly, ” Autumn Durald Arkapaw told IndieWire at the annual EnergaCamerimage cinematography festival in Toruń, Poland. “So yeah, I do feel pressure, but I think that’s what you work for, right? If you really want to do great work, you push to that moment. And if it finally comes to you, you better put a smile on your face.”
Durald Arkapaw describes her career as going from “little fashion films to music videos to indies to studios.” She first drew attention for her sensitive camerawork on Gia Coppola’s “Palo Alto,” before shooting with Elle Fanning on Max Minghella’s directorial debut, “Teen Spirit.” Her work on “Loki” and “Wakanda Forever...
“This is new to me, honestly, ” Autumn Durald Arkapaw told IndieWire at the annual EnergaCamerimage cinematography festival in Toruń, Poland. “So yeah, I do feel pressure, but I think that’s what you work for, right? If you really want to do great work, you push to that moment. And if it finally comes to you, you better put a smile on your face.”
Durald Arkapaw describes her career as going from “little fashion films to music videos to indies to studios.” She first drew attention for her sensitive camerawork on Gia Coppola’s “Palo Alto,” before shooting with Elle Fanning on Max Minghella’s directorial debut, “Teen Spirit.” Her work on “Loki” and “Wakanda Forever...
- 11/23/2022
- by Daniel Eagan
- Indiewire
Click here to read the full article.
Reteaming with Baz Luhrmann to make his audacious musical biopic Elvis, cinematographer Mandy Walker began with meticulous planning and testing to bring the iconic singer’s most memorable performances to the big screen.
The Warner Bros. picture is currently one of the top 10 highest-grossing movies of the year, with 286 million worldwide. And more recently, Walker’s work on the movie was selected for the main competition of the Camerimage international cinematography festival — a prestigious bellwether for the cinematography Oscar race — whose 30th edition begins Nov. 12 in Torun, Poland.
Luhrmann and Walker (who previously lensed the director’s 2008 epic Australia and the Chanel No. 5 campaigns that featured Nicole Kidman and Gisele Bündchen) did meticulous research and testing before production began. This involved collecting and studying historical references, from footage of Elvis’ live Las Vegas performances to his 1968 “comeback special” that aired on NBC. Luhrmann...
Reteaming with Baz Luhrmann to make his audacious musical biopic Elvis, cinematographer Mandy Walker began with meticulous planning and testing to bring the iconic singer’s most memorable performances to the big screen.
The Warner Bros. picture is currently one of the top 10 highest-grossing movies of the year, with 286 million worldwide. And more recently, Walker’s work on the movie was selected for the main competition of the Camerimage international cinematography festival — a prestigious bellwether for the cinematography Oscar race — whose 30th edition begins Nov. 12 in Torun, Poland.
Luhrmann and Walker (who previously lensed the director’s 2008 epic Australia and the Chanel No. 5 campaigns that featured Nicole Kidman and Gisele Bündchen) did meticulous research and testing before production began. This involved collecting and studying historical references, from footage of Elvis’ live Las Vegas performances to his 1968 “comeback special” that aired on NBC. Luhrmann...
- 11/11/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
As we have in the past, IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited or Anthology Series or Movie, and asked them which cameras and lenses they used — but even more important: Why were these the right tools to create the look of their series?
The nominees’ answers are below, organized by Emmy category and in alphabetical order by series title.
Outstanding Cinematography for a Single-Camera Series (One Hour)
“Euphoria”
Nominated Episode: “The Theater and Its Double”
Format: 35mm (3 perf)
Camera: Arricam Lt, Arri 435
Lens: Cooke S4, Cooke Panchro, Zeiss Super Speeds/B-speeds, Zeiss uncoated Super Speeds
Marcell Rév: Our goal for this season was to make it feel like a melancholic memory of high school years. The organic structure of these film stocks, the texture of old glass, the flairs, the imperfection of these...
The nominees’ answers are below, organized by Emmy category and in alphabetical order by series title.
Outstanding Cinematography for a Single-Camera Series (One Hour)
“Euphoria”
Nominated Episode: “The Theater and Its Double”
Format: 35mm (3 perf)
Camera: Arricam Lt, Arri 435
Lens: Cooke S4, Cooke Panchro, Zeiss Super Speeds/B-speeds, Zeiss uncoated Super Speeds
Marcell Rév: Our goal for this season was to make it feel like a melancholic memory of high school years. The organic structure of these film stocks, the texture of old glass, the flairs, the imperfection of these...
- 8/11/2022
- by Erik Adams and Chris O'Falt
- Indiewire
The American Film Institute has announced its participants for the 2022 Cinematography Intensive for Women presented by Panavision.
The four-day intensive, spearheaded by AFI Conservatory Cinematography Discipline Head Stephen Lighthill, ASC, will begin July 15 on the AFI campus in Los Angeles.
The 16 selected filmmakers are: Anjuli Arreola-Burl, Guisel Contreras, Sarah Crowley-Kelly, Hannah Freeman, Nicky Fuchs, Allyson Hoover, Leeann Leonard, Miriam Ouchi, Angelica Perez-Castro, Aja Pilapil, Rebecca Richard, Susie Shircliff, Olivia Steede, Amber Steele, Olga Wagner and Demi Waldron.
“We are excited to welcome this talented and diverse group of visual storytellers to join this transformative workshop. It is an honor to meet them at this moment in their careers and help them continue to develop their craft. It’s an extraordinary opportunity for all of us,” says Lighthill. “With the AFI Campus located in Los Angeles, we are incredibly fortunate to have access to the best of the best in the cinematography community.
The four-day intensive, spearheaded by AFI Conservatory Cinematography Discipline Head Stephen Lighthill, ASC, will begin July 15 on the AFI campus in Los Angeles.
The 16 selected filmmakers are: Anjuli Arreola-Burl, Guisel Contreras, Sarah Crowley-Kelly, Hannah Freeman, Nicky Fuchs, Allyson Hoover, Leeann Leonard, Miriam Ouchi, Angelica Perez-Castro, Aja Pilapil, Rebecca Richard, Susie Shircliff, Olivia Steede, Amber Steele, Olga Wagner and Demi Waldron.
“We are excited to welcome this talented and diverse group of visual storytellers to join this transformative workshop. It is an honor to meet them at this moment in their careers and help them continue to develop their craft. It’s an extraordinary opportunity for all of us,” says Lighthill. “With the AFI Campus located in Los Angeles, we are incredibly fortunate to have access to the best of the best in the cinematography community.
- 7/13/2022
- by Jazz Tangcay
- Variety Film + TV
Powerhouse “Dune” cinematographer Greig Fraser won the feature film prize Sunday night at the 36th annual ASC Awards (held at the organization’s clubhouse in Hollywood). This marks Fraser’s second ASC win after his Oscar-nominated “Lion.” He triumphed over Bruno Delbonnel (“The Tragedy of Macbeth”), Dan Laustsen (“Nightmare Alley”), Ari Wegner (“The Power of the Dog”), and Haris Zambarloukos (“Belfast”). All are Oscar nominees except Zambarloukos, who was beat out by Janusz Kamiński (“West Side Story”).
Fraser now has critical momentum going into next Sunday’s Oscars, bolstered by his recent BAFTA prize and praise for his dark and gritty “The Batman.” However, don’t be surprised if Wegner (winner of the Critics Choice Award) pulls off an upset over her fellow Australian and becomes the first woman to win the Oscar for cinematography. Her director, “Power of the Dog’s” Jane Campion, is expected to win the Oscar for Best Director.
Fraser now has critical momentum going into next Sunday’s Oscars, bolstered by his recent BAFTA prize and praise for his dark and gritty “The Batman.” However, don’t be surprised if Wegner (winner of the Critics Choice Award) pulls off an upset over her fellow Australian and becomes the first woman to win the Oscar for cinematography. Her director, “Power of the Dog’s” Jane Campion, is expected to win the Oscar for Best Director.
- 3/21/2022
- by Bill Desowitz
- Indiewire
The American Society of Cinematographers handed out its top prize in feature film visual storytelling to “Dune.” Last year’s winner, Erik Messerschmidt for “Mank,” presented the feature film prize to Greig Fraser.
The 36th Annual ASC Awards ceremony returned to a limited in-person component at the the ASC Clubhouse in Hollywood. Debbie Allen served as the night’s host.
Other winners included “Pig,” which won the spotlight award ,and James Laxton, who took home the motion picture, limited series, or pilot made for television award for “The Underground Railroad.”
Rachel Morrison, Stephen Hopkins and Jay Holben were among the cinematographers who presented the honoree awards. Ellen Kuras, ASC received the lifetime achievement award. Peter Levy, ASC, Acs was honored with the career achievement in television award, while John Lindley, ASC was presented with the president’s award and Dan Sasaki was bestowed with the Curtis Clark technical achievement award.
The 36th Annual ASC Awards ceremony returned to a limited in-person component at the the ASC Clubhouse in Hollywood. Debbie Allen served as the night’s host.
Other winners included “Pig,” which won the spotlight award ,and James Laxton, who took home the motion picture, limited series, or pilot made for television award for “The Underground Railroad.”
Rachel Morrison, Stephen Hopkins and Jay Holben were among the cinematographers who presented the honoree awards. Ellen Kuras, ASC received the lifetime achievement award. Peter Levy, ASC, Acs was honored with the career achievement in television award, while John Lindley, ASC was presented with the president’s award and Dan Sasaki was bestowed with the Curtis Clark technical achievement award.
- 3/21/2022
- by Jazz Tangcay
- Variety Film + TV
“Dune” has been named the best-shot film of 2021 by the American Society of Cinematographers, which held its annual awards show on Sunday evening in Los Angeles.
Cinematographer Greig Fraser won the award over a field that included fellow Oscar nominees “The Power of the Dog,” “The Tragedy of Macbeth” and “Nightmare Alley,” as well as “Belfast.”
In the first 35 years of its existence, the ASC winner has gone on to take the Oscar for Best Cinematography less than half the time, although that percentage has improved recently. “Dune” is considered one of the front runners for this year’s cinematography Oscar, with Fraser seemingly in a close with Ari Wegner for “The Power of the Dog,” who could be the first woman ever to win in the category.
Other feature-film awards went to Jessica Beshir for “Faya Dayi” in the documentary category and Pat Scola for “Pig” in the spotlight category,...
Cinematographer Greig Fraser won the award over a field that included fellow Oscar nominees “The Power of the Dog,” “The Tragedy of Macbeth” and “Nightmare Alley,” as well as “Belfast.”
In the first 35 years of its existence, the ASC winner has gone on to take the Oscar for Best Cinematography less than half the time, although that percentage has improved recently. “Dune” is considered one of the front runners for this year’s cinematography Oscar, with Fraser seemingly in a close with Ari Wegner for “The Power of the Dog,” who could be the first woman ever to win in the category.
Other feature-film awards went to Jessica Beshir for “Faya Dayi” in the documentary category and Pat Scola for “Pig” in the spotlight category,...
- 3/21/2022
- by Steve Pond
- The Wrap
Dune‘s Greig Fraser won the top film prize at the American Society of Cinematographers’ 36th annual ASC Awards, which were handed out tonight in Hollywood.
Denis Villeneuve’s epic based on the classic Frank Herbert novel was one of the two films coming into tonight with the most momentum, having won the cinematography prize at the BAFTA Film Awards last week. It beat out The Power of the Dog, which fetched the Critics Choice Award that same day.
Katelin Arizmendi, the second unit Dp on Dune, accepted the award for Fraser, who recently tested positive for Covid and was unable to attend the ceremony. Arizmendi read a speech from Fraser, who ASC win for Outstanding Achievement in Cinematography in Theatrical Releases was his second after 2017’s Lion.
The other nominees for the marquee film prize were Ari Wegner for The Power of the Dog, Bruno Delbonnel for The Tragedy of Macbeth,...
Denis Villeneuve’s epic based on the classic Frank Herbert novel was one of the two films coming into tonight with the most momentum, having won the cinematography prize at the BAFTA Film Awards last week. It beat out The Power of the Dog, which fetched the Critics Choice Award that same day.
Katelin Arizmendi, the second unit Dp on Dune, accepted the award for Fraser, who recently tested positive for Covid and was unable to attend the ceremony. Arizmendi read a speech from Fraser, who ASC win for Outstanding Achievement in Cinematography in Theatrical Releases was his second after 2017’s Lion.
The other nominees for the marquee film prize were Ari Wegner for The Power of the Dog, Bruno Delbonnel for The Tragedy of Macbeth,...
- 3/21/2022
- by Erik Pedersen
- Deadline Film + TV
Ellen Kuras became first woman to earn group’s Lifetime Achievement Award
Dune cinematographer Greig Fraser walked off with the 36th annual ASC Awards top prize in Hollywood on Sunday (20).
The win, another success in crafts categories for Denis Villeneuve and Legendary/Warner Bros’s multi-nominated sci-fi adaptation, strengthens his Oscar prospects come Sunday March 27.
Fraser, who worked on current global box office champion The Batman, used Alexa Lf and IMAX 65mm cameras. He has won the American Society of Cinematographers’ top award once before, for Lion in 2017.
The other nominees were Bruno Delbonnel for The Tragedy Of Macbeth, Dan Laustsen for Nightmare Alley,...
Dune cinematographer Greig Fraser walked off with the 36th annual ASC Awards top prize in Hollywood on Sunday (20).
The win, another success in crafts categories for Denis Villeneuve and Legendary/Warner Bros’s multi-nominated sci-fi adaptation, strengthens his Oscar prospects come Sunday March 27.
Fraser, who worked on current global box office champion The Batman, used Alexa Lf and IMAX 65mm cameras. He has won the American Society of Cinematographers’ top award once before, for Lion in 2017.
The other nominees were Bruno Delbonnel for The Tragedy Of Macbeth, Dan Laustsen for Nightmare Alley,...
- 3/20/2022
- by Jeremy Kay
- ScreenDaily
When the ASC launched its awards in 1986, a single statue was given for feature film cinematography, presented by Gregory Peck to Jordan Cronenweth for his work on Francis Ford Coppola’s “Peggy Sue Got Married.”
Now, 36 years later, the American Society of Cinematographers Awards is returning to the smaller scale of yore even as it promises to celebrate a wide range of image-makers. The ceremony will take place on March 20th at the ASC Clubhouse, the org’s modest, if stylish, headquarters in Hollywood, rather than in a cavernous ballroom.
But even though ASC has reduced the scale of the event this year, the scope of the awards has continued to expanded significantly since that first evening. Honors now go to TV categories as well as documentary. The ASC’s Spotlight Award joined the parade in 2013 to recognize films seen mainly on the festival circuit, in limited theatrical release or outside the U.
Now, 36 years later, the American Society of Cinematographers Awards is returning to the smaller scale of yore even as it promises to celebrate a wide range of image-makers. The ceremony will take place on March 20th at the ASC Clubhouse, the org’s modest, if stylish, headquarters in Hollywood, rather than in a cavernous ballroom.
But even though ASC has reduced the scale of the event this year, the scope of the awards has continued to expanded significantly since that first evening. Honors now go to TV categories as well as documentary. The ASC’s Spotlight Award joined the parade in 2013 to recognize films seen mainly on the festival circuit, in limited theatrical release or outside the U.
- 3/19/2022
- by David Heuring
- Variety Film + TV
The American Society of Cinematographers (ASC) announced the recipients of its 36th Annual Awards for Outstanding Achievement in Cinematography.
Ellen Kuras, the visionary behind “Eternal Sunshine of the Spotless Mind” and “Blow,” makes history as the first woman to receive the ASC Lifetime Achievement Award. Kuras has won two Emmys and been nominated for an Academy Award. Kuras also won an Emmy for her directorial debut film, “The Betrayal/Nerakhoon.”
A three-time winner of the award for Best Dramatic Cinematography at Sundance, Kuras has collaborated with auteurs Martin Scorsese, Spike Lee, Sam Mendes, Michel Gondry, Jonathan Demme, Rebecca Miller, and Jim Jarmusch, among others.
“Ellen is undeniably a trailblazer,” ASC President Stephen Lighthill said. “She has consistently brought a daring and compelling creative talent to her work as a director and cinematographer. She is known to be a passionate collaborator, strong leader and generous soul. The ASC is thrilled to...
Ellen Kuras, the visionary behind “Eternal Sunshine of the Spotless Mind” and “Blow,” makes history as the first woman to receive the ASC Lifetime Achievement Award. Kuras has won two Emmys and been nominated for an Academy Award. Kuras also won an Emmy for her directorial debut film, “The Betrayal/Nerakhoon.”
A three-time winner of the award for Best Dramatic Cinematography at Sundance, Kuras has collaborated with auteurs Martin Scorsese, Spike Lee, Sam Mendes, Michel Gondry, Jonathan Demme, Rebecca Miller, and Jim Jarmusch, among others.
“Ellen is undeniably a trailblazer,” ASC President Stephen Lighthill said. “She has consistently brought a daring and compelling creative talent to her work as a director and cinematographer. She is known to be a passionate collaborator, strong leader and generous soul. The ASC is thrilled to...
- 2/3/2022
- by Samantha Bergeson
- Indiewire
Niki Caro’s epic live-action remake is finally hitting Disney Plus on Sept. 4 at the cost of $29.99 to subscribers. The film will be made free later on in the year, this December on the regular service.
Caro’s version reimagines the 1998 animated film, with Yifei Liu playing the title heroine and warrior. As the emperor, played by Jet Li, decrees one man from every family must be sent to the front lines, Mulan steps in, undercover as a man, and prepares for battle in place of her father who has been injured in battle to save the dynasty.
Caro recruited cinematographer Mandy Walker (“Hidden Figures”) as part of her female crew (she worked with costumer Bina Daigeler (“Mrs. America) and makeup artist Denise Kum to help bring the Disney warrior to life.
Walker breaks down the key battle sequence from the film and how Panavision made a specific lens to...
Caro’s version reimagines the 1998 animated film, with Yifei Liu playing the title heroine and warrior. As the emperor, played by Jet Li, decrees one man from every family must be sent to the front lines, Mulan steps in, undercover as a man, and prepares for battle in place of her father who has been injured in battle to save the dynasty.
Caro recruited cinematographer Mandy Walker (“Hidden Figures”) as part of her female crew (she worked with costumer Bina Daigeler (“Mrs. America) and makeup artist Denise Kum to help bring the Disney warrior to life.
Walker breaks down the key battle sequence from the film and how Panavision made a specific lens to...
- 9/4/2020
- by Jazz Tangcay
- Variety Film + TV
“We’re all used to stunt movies. But to really keep your main character and his emotions as the center of the story, that’s what keeps the audience connected. If it’s just action, you tune out. It’s all spectacular and great, but if you’re not in the guy’s head… then it just becomes boring, no matter how good the action is.” — Phedon Papamichael
Over the course of six films, director James Mangold and cinematographer Phedon Papamichael have refined a “classic, old school” approach to filmmaking, focusing most of all on performance, while also crafting extremely precise, cinematic compositions.
With Ford v Ferrari, the pair sought to immerse viewers in the experience of race car driver Ken Miles, played by Christian Bale, as he traveled in a “little bucket of bolts” at breakneck speeds.
Though the film’s racing sequences are lengthy and complex, the majority...
Over the course of six films, director James Mangold and cinematographer Phedon Papamichael have refined a “classic, old school” approach to filmmaking, focusing most of all on performance, while also crafting extremely precise, cinematic compositions.
With Ford v Ferrari, the pair sought to immerse viewers in the experience of race car driver Ken Miles, played by Christian Bale, as he traveled in a “little bucket of bolts” at breakneck speeds.
Though the film’s racing sequences are lengthy and complex, the majority...
- 12/25/2019
- by Matt Grobar
- Deadline Film + TV
Every cinematographer knows that picking the right camera and lens doesn’t create the look of a movie. Yet understanding how these Oscar-nominated cinematographers determined the right tools for these five distinctive films reveals not only their intention, but also their approach and process.
While shooting on film stock continues to make a comeback, with “prestige” period films in particular, what’s interesting is among this year’s Best Cinematography nominees — four of which are period films, three set against the backdrop of World War II — only “Dunkirk” was shot on film, as director Christopher Nolan and Dp Hoyte van Hoytema continue to pioneer the use of IMAX film cameras in traditional Hollywood filmmaking. The other four nominees relied on Arri’s Alexa cameras to capture looks as varied as the hot summer landscape of 1940s Mississippi to the wintery silver of Los Angeles 100 years afterward.
Here are the cinematographers...
While shooting on film stock continues to make a comeback, with “prestige” period films in particular, what’s interesting is among this year’s Best Cinematography nominees — four of which are period films, three set against the backdrop of World War II — only “Dunkirk” was shot on film, as director Christopher Nolan and Dp Hoyte van Hoytema continue to pioneer the use of IMAX film cameras in traditional Hollywood filmmaking. The other four nominees relied on Arri’s Alexa cameras to capture looks as varied as the hot summer landscape of 1940s Mississippi to the wintery silver of Los Angeles 100 years afterward.
Here are the cinematographers...
- 2/21/2018
- by Chris O'Falt
- Indiewire
With Quentin Tarantino making concrete efforts to retrofit 50 theaters with 70mm projection to accommodate his latest, The Hateful Eight, it looks as though he has a firm supporter in his endeavors. Recent reports speculate writer/director Paul Thomas Anderson is gearing up to hopefully present his latest project in 70mm as well. Details are sparse as to what the film could be, but apparently at the 2015 Cine Gear Expo where Tarantino presented his footage in Panavision, an audience member asked if any other filmmakers were interested in the format. Dan Sasaki, Panavision's VP of Optical Engineering, mentioned Anderson's name and that he's seen the footage and was "strongly considering the same format for his next project." Now, this of course is no confirmation of him using the extended aspect ratio on his new movie, whatever that may be. But, as the original report from Cigarettes & Red Vines is quick to note,...
- 6/10/2015
- by Will Ashton
- Rope of Silicon
Test footage from Quentin Tarantino's The Hateful Eight was screened for an audience at the Paramount Theater this past Saturday, June 6, at Cine Gear Expo, showing off Tarantino and cinematographer Robert Richardson's use of 70mm film for the shoot. The report comes from The Hollywood Reporter, which quotes Panavision's vp of optical engineering Dan Sasaki saying, "Tarantino really wants to get people back into theaters. You're not going to get this at home. He did something really great to bring that experience back... Quentin wanted an epic Western, something that hasn't been seen in forever, that would really wow people. When he saw this test, he started bouncing in his seat." I can't seem to find a confirmed number of U.S. theaters equipped to screen film in 70mm -- I know the Cinerama here in Seattle has the capability and here is a list of non-u.
- 6/8/2015
- by Brad Brevet
- Rope of Silicon
Late last year Panavision introduced a new lens line, the Primo 70. These lenses are specifically designed for use on larger sensor digital cameras and, according to Panavision, cannot be used on film cameras. We spoke with Dan Sasaki, VP of Optical Engineering at Panavision, about the development of these lenses, and how they differ from film lenses. Filmmaker: What was the impetus for developing digital lenses? Sasaki: Our Primo 35 lenses have been around since the late ’80s, early ’90s, and they are designed to work with film cameras. The Primo lenses have what’s called the blue line shift on […]...
- 3/18/2015
- by Michael Murie
- Filmmaker Magazine - Blog
Late last year Panavision introduced a new lens line, the Primo 70. These lenses are specifically designed for use on larger sensor digital cameras and, according to Panavision, cannot be used on film cameras. We spoke with Dan Sasaki, VP of Optical Engineering at Panavision, about the development of these lenses, and how they differ from film lenses. Filmmaker: What was the impetus for developing digital lenses? Sasaki: Our Primo 35 lenses have been around since the late ’80s, early ’90s, and they are designed to work with film cameras. The Primo lenses have what’s called the blue line shift on […]...
- 3/18/2015
- by Michael Murie
- Filmmaker Magazine-Director Interviews
Dalsa Digital Cinema is set to announce the development of a new 4k digital-cinematography camera and portable recorder along with the industry's first 4k anamorphic lenses, designed by lens design veteran Dan Sasaki, to enable cinematographers to shoot anamorphic widescreen digitally using the full resolution capability of Dalsa's image sensor.
"We believe many cinematographers will be thrilled that we're unveiling the opportunity to shoot digitally at 4k resolution at 16-bit, uncompressed, untethered, using the highest-quality anamorphic lenses designed by the legendary Dan Sasaki," said Rob Hummel, president of Dalsa Digital Cinema L.A. "This will be the first time that a CinemaScope 2.40 composition will be captured using the entire sensor area of a digital camera. Now you can capture 2.40 without any compromise in resolution."
Added director of photography Stephen Burum, who previewed Dalsa's news: "I think this is a big jump forward. It has the potential for quality like we've never seen before in the digital domain.
"We believe many cinematographers will be thrilled that we're unveiling the opportunity to shoot digitally at 4k resolution at 16-bit, uncompressed, untethered, using the highest-quality anamorphic lenses designed by the legendary Dan Sasaki," said Rob Hummel, president of Dalsa Digital Cinema L.A. "This will be the first time that a CinemaScope 2.40 composition will be captured using the entire sensor area of a digital camera. Now you can capture 2.40 without any compromise in resolution."
Added director of photography Stephen Burum, who previewed Dalsa's news: "I think this is a big jump forward. It has the potential for quality like we've never seen before in the digital domain.
- 4/10/2007
- The Hollywood Reporter - Movie News
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