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Tim Ives, ASC enlists Panavision New York for cameras and lenses on the miniseries Fosse/Verdan, which chronicles the decades-long relationship of famed director/choreographer Bob Fosse and sensational dancer Gwen Verdon. Read more.

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Cinematographer Christian Sprenger’s work showed up during the Super Bowl not once, but twice, with commercials for TurboTax Live (“RoboChild”) and Amazon Alexa (“Not Everything Makes the Cut”). Read more.

Christian Sprenger shot season one of GLOW for Netflix then Adriam Correia tagged in for season two. Both used RED cameras. Read more.

Cinematographer Chayse Irvin, CSC worked with Panavision on Spike Lee’s BlackKklansman. Read more.

For HBO’s modern take on the classic Fahrenheit 451, Kramer Morgenthau, ASC shoots with a Panavised Panasonic VariCam 35 for the first time. Read more.

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For the ASC and American Cinematographer websites, DP Joe Collins and Gaffer Pat Fontana detail their lighting approach for the network series Instinct. Read more.

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Cinematographer Joe Collins employs the Panavision DXL camera and a couple REDs on the network series Instinct. Read more.

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In Studio Daily magazine, cinematographer Brandon Trost discusses his approach to shooting The Disaster Artist, director and star James Franco’s adaptation of the making of The Room, the best worst movie of all time. Trost deployed RED Epic Dragon cameras and even had to re-create with exacting detail shots from The Room. Read more.

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The new Panavision DXL digital cinema camera:  Panavision ergonomics mated to RED Digital Cinema’s whopping 8K sensor and tweaked with Panavision’s own color science. It has had cinematographers clamoring. Here are three DPs who put it into play–Nigel Bluck, ACS, John Schwartzman, ASC and Peter Deming, ASC. Read More.

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Some recent online spots for a digital campaign for recycling in the City of Fayetteville.