Tag Archive: red

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.




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.


Still catching up on posts. Here is one on the film Allied (2016) for Panavision and its subsidiary Light Iron used by cinematographer Don Burgess, ASC and director Robert Zemeckis. Read more.


Cinematographer Mitchell Amundsen and 1st AC Todd Schlopy give high praise to the new Panavision Primo 70 lenses they used on Ride Along 2. Read More.

DigiCinema     David Stump, ASC has written a book, and why not? After all, he has done everything else. His work in and knowledge of digital cinematography is impressive, and his visual effects shooting is aces. Amazingly, he has condensed his vast knowledge into this excellent reference book available now.

And I’m not praising the book just because it contains my lengthy treatise on color space. (It does. Just see Chapter 4.) Rather, it is a great resource; I’ve been using it since it came out.

Available for purchase here:

The ASC Store


For American Cinematographer subscribers (either old-school pulp or digital) or those near newsstands, in the August issue I covered legendary music video director Mark Pellington’s work on Bear Hands “Giants” on which he and several cinematographers used eight different camera formats.