Mon blog déménage


Comme je voyage beaucoup, je continue ce blog à une nouvelle adresse: http://chefop.blogspot.com

La plateforme de Blogger me permettra de poster depuis d'autres ordis dans divers coins de la planète. Je me réjouis de continuer à partager ma passion avec vous ;-)
Ca commence fort: je reviens d'Argentine, où j'ai visité un loueur de matériel ciné organisé comme une armée germanique! Je vous propose une visite guidée.


 

Eclipse totale, Niger 2006


Vivre une éclipse totale en plein Sahara, c'est une expérience que je souhaite à tout le monde. Et en particulier à tous les amateurs de lumière.


Illias, un Touareg, observant l'éclipse dans une brume surnaturelle...

 

Oscars 2006


Meilleure photo: Memoirs of a Geisha. DP: Dion Beebe.
Extraits d'un article intéressant paru dans le magazine de l'ICG, International Cinematographers Guild.

Dion Beebe, ASC Recreates Period Japan
For Memoirs of a Geisha
“Much of the story takes place in candlelight or extremely low light,” explains Beebe. “Not that easy to do in the anamorphic format. So, we had a little ‘get together’ in prep. Phil Radin and Dan Sasaki from Panavision and first assistant Mike Weldon joined me to ‘prepare’ for the shoot. I explained my desire to shoot high-speed stock in very low light conditions.
“When Mike recovered from the initial shock of doing an anamorphic movie essentially wide open on high speed lenses, he picked himself up off the floor, got excited about the challenge and we began testing every fast anamorphic lens available at Panavision.”
“Almost every shot using an anamorphic lens is tricky,” says Weldon. “Each lens has its own characteristic, so it is important to make sure the lenses of choice are fine-tuned and that we completely understand their ‘character.’ I always refer to the great lens technician Dan Sasaki to tune up my lenses before I shoot a foot of film through them. On this project, he was invaluable. Not only did he help us find lenses that could work below a T-2 stop, he also customized a high speed 40mm with a stop of T-1.8 for us.”
To capture this epic story, Beebe decided to use Kodak’s 5218 500T stock, often pushing it one stop. With Weldon, he chose Panavision Platinum and Millennium cameras, using E-series anamorphic lenses for the bulk of the project, adding C-series for Steadicam and handheld as well as a short zoom with a range of 40-80mm (T-2.8) and the customized high-speed 40mm. “I even found two lenses that went to T-1.3 hidden under Mike’s kit bag,” says Beebe. “The ability to shoot in extremely low light conditions was key to the lighting design of the movie. Had I not had the skills of Mike Weldon on A-camera and John Grillo on B-camera, I could not have shot the picture this way. We would have been too compromised by focus difficulties. They were working with minimal depth on cameras that were always moving and they nailed it. These guys were my heroes.”
In addition to an extensive camera and lens testing process, Beebe worked with production and costume design to create a world of the Geisha that would be real on the screen. “I worked with production designer John Meyer and costume designer Colleen Atwood on Chicago, so we were familiar with each other’s styles and abilities,” says Beebe. “They are both so meticulous and carefully researched, but also bring artistry to their work that is inspiring.
“One of the first things that John and I approached was the various traditional paper Shoji screens that would be used throughout the movie. It seemed whenever these screens are photographed for movies, they simply appear white and over-exposed. Either too much light washes over the front of these screens or too much light is blasting in the back.
“For us, to have rooms with bright white paper screens everywhere would not fit into the dark mysterious world we all wanted to create. So, we began testing papers of different densities and with varying degrees of staining, often doubling up samples to find the correct opacity. We also tested fabrics within the screen doors—fabrics that created a different feel and texture. We then subjected our choices to tests under a simulation of our lighting conditions.
“The end result was a mix of about ten to 20 different materials. The papers with subtle textures that had been pressed between the sheets with a dark stain applied were the most successful.
“With costumes,” he continues, “the same pressure applied. I worked closely with Colleen to ensure that the warm yellow light of our interior world did not work against the wonderful palette of colors she had created for each of our principal actors. We tested fabrics under different lighting conditions and tracked their place in the movie to ensure we never ended up with lighting conflicting with costume. The result was some of the most beautiful costumes I’ve ever photographed.”
So much of Memoirs of a Geisha takes place in a shadowy world, whether it is the poverty and degradation of Chiyo’s childhood and servitude beginning in 1929, to the private lives of the Geisha pre World War II. Candles, lanterns and firelight were the only illumination available for interiors.
“What you can accomplish on any movie ultimately comes down to how good your crew is,” says Beebe. “I had a great crew on Geisha. My gaffer, John Buckley, understood the mood and atmosphere of the script. He has a great eye and a great ability to plan and organize the set. We went from lighting scenes with a couple of lanterns and flicker boxes to lighting an entire Japanese 1930s town at night. This film places a lot of emphasis on lighting and John and his guys worked incredibly hard.”
The centerpiece of the story was the production’s “back lot” built at Ventura Farms about an hour outside of Los Angeles. Production designer John Meyer created period Japan in the Santa Monica Mountains with streets, alleyways, functioning teahouses, shops, temples, shrines, bridges and a river where the water level and current could be changed. “No one who visited the set could walk away unimpressed,” says A-camera/Steadicam operator Peter Rosenfeld.
“The sets were beautiful,” says Buckley, “but the interiors were built to scale. If you were five feet two inches, you could manipulate easily. Mike Weldon is well over six feet tall, and I don’t think any of our crew is less than five ten. Every one of us got smacked at least half a dozen times, but that was part of the reality of the story and the times we were depicting.
“I love doing a period piece,” Buckley adds. “When Dion and I first started to talk about this picture, he explained most of the lighting would be lanterns and fires. Most people use CTO and go into the red zone. Instead, we decided to go yellow and straw. Yellow fires with a little red in the embers.
“There are different ways to make a flame look like a real flame,” Buckley continues. “Some look very mechanical. To make ours look as real as possible, we carried what we call ‘covered wagons.’ They are sockets with 100-watt globes, grid cloth and full straw in a two-by-four foot cage. Each globe had two separate dimmers. By flickering one at one rate and one at another, the light never felt mechanical.”
In order to create a Japanese winter light in sunny Southern California, production would have to block out the sun. To accomplish this, key grip Scott Robinson and rigging key Don Reynolds worked with ShowRig to create the largest freestanding diffusion ever made. “It was like some sort of installation art work,” says Beebe. “Christo would have been proud. It was risky and a contentious expense for Sony as nothing had been built to this scale before but with our insistence and Rob’s unwavering support, they became convinced and backed the idea. This rig ultimately allowed us to create four seasons, turn sunny days in Los Angeles into snow filled winter landscapes and shoot night for day—it was key to creating a seamless exterior world. It took a lot of guys, a lot of money, and very little wind to make this rig fly, but it helped turn a field in Ventura farms into a mysterious Japanese town lost in time.”
“It was made up of two massive steel trusses that were able to pull panels of silent grid cloth over the set to cut out and diffuse the direct sunlight,” explains Rosenfeld. “For our night work, gaffer John Buckley would direct Beebee lights through the material. The result was a stunningly realistic moonlight effect. It created enormous spread with very little fall off. The village was lit in just about any direction the camera could point.
“One day, while we were trying to complete a day scene after the sun had gone down, we discovered that John Buckley could recreate daylight,” Rosenfeld continues. “By using several Beebee lights through the immense grid cloth, he could increase the ambient levels to about a T-2.8. Once we saw the effect, we all fell in love with it. The quality of light was very similar to what you would see in New York on a cloudy winter day in the late afternoon. A soft, shadowless light that had a wintery feeling.
“One of my favorite scenes shot with this light is when Japanese troops occupy the village and evacuate the residents,” Rosenfeld recalls. “We shot the scene with two handheld cameras that could follow the chaotic action a full 360 degrees. Aside from a few well placed bounce cards, the scene was lit from the grid cloth and looked incredible.”
The crew had many favorite shots from the film. “The snow sequences were so beautiful,” says Weldon. “Combine the use of overhead silk and the addition of fake snow on the rooftops and ground and there was something magical. Dion decided not to use an 85 filter and let the film go blue. That made the fake snow look real, cold and breathtaking.”
“One was a complicated Technocrane shot that followed a lone figure walking through the snow from above,” adds Rosenfeld. “The grid cloth was slid overhead and the entire village was covered in snow. Scott and his crew built us an elevated platform for the 50-foot Technocrane so the lens could float overhead, weaving through the alleyways. The resulting images were almost like a Japanese watercolor painting.”
“Rob wanted a sweeping shot through the village that ended up looking in the window of the Okiya,” Beebe explains. “This was a key transition from the young Chiyo to the older Chiyo, years later. Scott, Don and I discussed many options of how best to achieve this.
“We spoke with Cablecam and SpiderCam about spanning the town with cable and suspending a remote camera, but due to the fact that the building structures were not real, rigging the cables became complicated and expensive. Then, one day we thought, what about a platform built above the rooftops? We used a model of the village to plot the shot, mapped out the platform position and Don Reynolds built this enormous platform and lifted the 50-foot Technocrane on top with a construction crane.
“It worked like a charm. Peter and his crew did a great job operating the shot. It makes me smile when I think of looking over my shoulder from on top of the platform and seeing the blazing sunlight through the fake snow. If only the audience knew what lay beyond the edge of our frame.”
“The shot started looking out over the village,” explains Rosenfeld. “We then tilted down to find a lone figure walking through snow-covered alleyways The camera then tracked the figure overhead, eventually gliding over roof tops to find Ziyi Zhang opening the 2nd floor window of the Okiya. This is her first appearance in the movie, and the first time we see Chiyo as a young adult.
“A shot like this takes careful planning well in advance,” he adds. “On the day, it requires a precise co-ordination between the AD’s, crane grips and focus puller to make it happen but when it does, it is an exhilarating experience. We used the 50-foot Technocrane with a stabilized three-axis head from Pictovision and our favorite lens—the 40-80mm anamorphic zoom.”
For Beebe, Chiyo’s journey through the Okiya (training house for the Geisha) is a metaphor for the story. The way the team transitions Chiyo’s world into Sayuri’s is a synergy of sets and lighting. “When we first enter the Okiya, it is a dark and forbidding place,” Beebe says. “We feel constricted and trapped within the narrow corridors. Chiyo’s entrapment is fully realized when she is finally led up to the rooftop of the Okiya and we reveal the tightly packed sea of rooftops that surround her. She has nowhere to go. The house ultimately metamorphosed as Chiyo gains confidence and some control of her life. It is then that we begin to open up the space.
“This was achieved through the use of traditional Japanese sliding doors, which could be removed or rearranged to create altered spaces, allowing us to open or close an area, depending upon the demands of the scene. The screens were also seasonal and the material changed with the seasons—from solid woods, open weaved Bamboo, glass and traditional paper screens. John Buckley was key to pulling off the multiple looks inside this interior, as it progresses from a dark, flickering oil lantern filled world to slowly lifting the veil and letting the light into this mysterious place.”
“We changed how the sunlight entered into the house and used it to create bounce light at different angles,” Buckley explains. “Then we changed the color and density levels of the light as we progressed into the modern age of electricity. This brought us to 3200 degrees Kelvin, creating a more neutral level of light that is seen today.”
The sequences in the theatre were some of the most beautiful in the film. “The way Dion used the practicals,” says Weldon, “and the way he photographed the principal actors in the audience watching Sayuri on stage. I got chills watching that footage in dailies. It was astounding.”
“Same for Rob and me,” adds Beebe. “It took us back to our days on Chicago. We took a lot of liberty with the lighting, using high tech Vari-Lites, but mixing them with gas burning footlights that ran along the front of the stage and paper lanterns that framed the musicians. All the lighting was run through two mixing desks.
“Ultimately, we favored mood and atmosphere over historical accuracy. This is a key sequence in the movie, as it demonstrates the artistry of the Geisha. Key, too, is the fact that the audience is filled with all the players in the story and the subtle reactions of each of them towards Sayuri’s stunning performance is a wonderful piece of choreography and direction. This was the very first scene we shot at the start of production and it really set the tone for everyone.”
Everyone is in agreement that the sequences shot at Descanso Gardens at night in a hot springs environment were challenging and interesting. “I think there were seven actors in water from the neck down,” recalls Weldon. “We used cameras on crane arms, cameras in the water on tripods and handheld. It was a challenge because there was no way to set any marks for their positions. And, of course, they would not always hit the same marks twice. So, with all those actors, it required quite a bit of coverage from many different angles.”
“We used the ‘covered wagons’ to light this,” explains Buckley. “The lighting was simple. The challenge was for Peter and Mike to move around the water and deal with the bamboo roof we had over the top of the bath.”
“The hot springs set certainly was a great challenge for us,” adds Rosenfeld. “Moving the camera was best accomplished on the Hot Gears in the under-slung mode. However, because it was night, we were wide open on the lens with no eye on the eyepiece. It was also difficult to control the amount of steam and match it effectively from shot to shot. Eventually, Mike and I ended up in the water with the actors.”
To emphasize the lyrical aspect of the story, Beebe chose to move the camera almost constantly. “The Hot Gears was a godsend to us,” says Weldon. “We used that head for a number of different scenes; in the ArriHead (low mode or normal mode set up) and also with the Lamdahead mode, when it required extreme tilts of up or down.
“Focus does sometimes become a little more challenging when the camera is floating in mid air,” he admits. “With a dolly grip and a grip on the crane arm that understands the need for hitting their particular marks, it becomes a bit easier.”
“It took a lot of guts to make this picture,” says Beebe. “Rob is an inspirational director and my camera crew was incredible. Peter Rosenfeld and B-Camera operator Sion Michel were a great team. They are both very intuitive and brought artistry to everything they did. Peter had operated for us on Chicago, which was a nice continuity for all of us. And I worked with Sion in Australia before. Mike Weldon and John Grillo both are extraordinary focus pullers and we needed their calm and expertise more than ever on this project. And, our seconds, Paul Santoni and EJ Misisco as well as loader Cameron Duncan were definitely up to the challenge. When it comes right down to it, in the end, you are only as good as your crew. And this was a great crew for a great picture.”

 

Oscars 2006: nominations meilleure photo


5 nominés extrêmement talentueux, cette année. Tous ces films se passent autrefois ou ailleurs. Du strict point de vue cinématographique, Brokeback Mountain est mon favori, mais le noir et blanc du film de Clooney est plus frappant, et les paysages du Nouveau Monde de Lubezki devraient cartonner. Une surprise: Munich de Spielberg n'est pas mentionné.
Les liens ci-dessous renvoient aux articles du New York Times.

BEST CINEMATOGRAPHY NOMINATIONS
Wally Pfister, "Batman Begins"
Rodrigo Prieto, "Brokeback Mountain"
Emmanuel Lubezki, "The New World"

 

Meilleure Photo aux MTV Awards: Broken Dreams de Green Day 


Un clip très travaillé remporte le prix de "la meilleure photo pour un clip video" aux 22e MTV Awards. 


Boulevard of Broken Dreams, de Green Day a été nominé dans 8 catégories.
C'est Samuel Bayer, qui a aussi réalisé le clip, qui remporte la récompense.

Extrait d'un article pour le magazine Kodak:
"Bayer spent two days shooting projection plates at locations in downtown Los Angeles, the desert outside of Palmdale, and in Las Vegas. The performance portion was filmed over a day and a half on a stage at the Delta hanger at LAX Airport. Bayer wanted a soundstage large enough to provide sufficient distance between the screen and projector. 
"In this modern age, I thought using rear screen projection would be really beautiful," says Bayer. "It is not greenscreen, and there is no compositing. Every shot of them walking was done on a treadmill. They never went outside. I like the illusion it creates. There is surreal quality to the video because it isn't quite real."
Le clip se trouve ici
  

 

Aviator remporte l'Oscar de la meilleure photo 


Dommage, il y avait plus intéressant. Richardson emploie toujours les mêmes recettes. Très joli résultat, mais l'inspiration fait défaut. 

Robert Richardson a gagné la statuette. Interview dans les coulisses visible sur le site des Oscars .
Xiaoding Zhao avait plus d'imagination sur le Secret des Poignards Volants. 

 

Micro Salon 2005 


Le grand rendez-vous des techniciens de l'image aura lieu à la FEMIS le 10 mars prochain. 

Infos et inscriptions ici: http://afcinema.com/ 

 

nominations Oscars 2005 



Trois DP de l’AFC sont nommés pour le César 2005 de la meilleure photographie :
Bruno Delbonnel pour Un long dimanche de fiançailles de Jean-Pierre Jeunet
Jean-Marie Dreujou pour Deux frères de Jean-Jacques Annaud
Eric Gautier pour Clean d’Olivier Assayas.

Sont nommés aux Oscars
Pour la meilleure photographie
Bruno Delbonnel pour Un long dimanche de fiançailles
Caleb Deschanel, ASC pour La Passion du Christ de Mel Gibson
John Mathieson, BSC pour Le Fantôme de l’Opéra de Joel Schumacher
Robert Richardson, ASC pour The Aviator de Martin Scorsese
Xiaoding Zhao pour Le Secret des poignards volants de Zhang Yimou 

 

Delbonnel remporte l'ASC award 


Bruno Delbonnel, AFC took top honors for A Very Long Engagement in the feature film competition here tonight at the 19th Annual American Society of Cinematographers (ASC) (www.theasc.com) Outstanding Achievement Awards at the Grand Ballroom at Hollywood & Highland.

...Nominees in the feature category were Dion Beebe, ASC, ACS and Paul Cameron for Collateral, Caleb Deschanel, ASC for The Passion of the Christ, Pawel Edelman, PSC for Ray, and Robert Richardson ASC for The Aviator.... "Each of the nominees has earned the respect of their peers for their artful and skillful rendering of images that accurately reflect the spirit of the stories they tell," Baldwin said.

...Jonathan Freeman, Robbie Greenberg, ASC and Nathan Hope claimed ASC Outstanding Achievement Awards in the three television categories.

...The cinematographers also feted Gilbert Cates, who received the organization's Board of Governors Award, which is presented annually to an individual who has made extraordinary and enduring contributions to advancing the art of filmmaking.

...Delli Colli compiled 137 credits over 60 years, including such classic films as The Name of the Rose, Once Upon a Time in the West, The Good, the Bad and the Ugly, Once Upon a Time in America, and Life is Beautiful.

...The award was presented to Maltin by cinematographer Allen Daviau, ASC, who said, "Film critic doesn't begin to describe who Leonard Maltin is, and what he does for all of us. He is a scholar, journalist, historian, preservationist and passionate aficionado of the art form." 

Bruno Delbonnel, AFC took top honors for A Very Long Engagement in the feature film competition here tonight at the 19th Annual American Society of Cinematographers (ASC) (www.theasc.com) Outstanding Achievement Awards at the Grand Ballroom at Hollywood & Highland. It was the first ASC Award for Delbonnel, who was also nominated for Amelie in 2002, another collaboration with director Jean-Pierre Jeunet.

The film follows a French woman's dogged attempts to learn the fate of her fiance, who disappeared during World War I. Nominees in the feature category were Dion Beebe, ASC, ACS and Paul Cameron for Collateral, Caleb Deschanel, ASC for The Passion of the Christ, Pawel Edelman, PSC for Ray, and Robert Richardson ASC for The Aviator. Alec Baldwin presented the award to Delbonnel. "Each of the nominees has earned the respect of their peers for their artful and skillful rendering of images that accurately reflect the spirit of the stories they tell," Baldwin said. "Each successfully interpreted the intentions of the directors and performances of the cast in ways that allow audiences to embrace the story."

Jonathan Freeman, Robbie Greenberg, ASC and Nathan Hope claimed ASC Outstanding Achievement Awards in the three television categories. Greenberg claimed top honors for Iron Jawed Angels (HBO) in the cable movie competition. Freeman won for Homeland Security (NBC) in the competition for original movie for broadcast television. Hope won the episodic series competition for the segment "Down the Drain" of CSI: Crime Scene Investigation (CBS). The awards were presented by Victor Garber (Alias), Kathryn Morris (Cold Case), and Poppy Montgomery (Without a Trace), respectively.

Greenberg previously took top honors in the made-for-cable movie competition for Winchell in 1999 and Introducing Dorothy Dandridge in 2000. Freeman was nominated for Prince Street in the episodic TV competition in 1998, the telefilm Strange Justice in 1999, and the miniseries Taken in 2003. This was his first win. This was the first ASC nomination for Hope.

Fred Koenekamp, ASC received the prestigious ASC Lifetime Achievement Award. The cinematographer compiled nearly 90 film credits during his career, which stretched over some 40 years. He earned his first director of photography credit in 1964 for the pilot episode of the classic The Man From U.N.C.L.E. television series. Koenekamp won an Oscar for The Towering Inferno in 1975. He also received nominations for Islands in the Stream and Patton. His body of work also includes such classic films as The Great Bank Robbery, Fun with Dick and Jane, and Kansas City Bomber. The award was presented to Koenekamp by cinematographer William A. Fraker, ASC, BSC who was the 2000 recipient of the ASC Lifetime Achievement Award. Koenekamp offered sage advice to the next generation of cinematographers, "Be proud of yourselves, be patient, and never give up on your dreams."

The cinematographers also feted Gilbert Cates, who received the organization's Board of Governors Award, which is presented annually to an individual who has made extraordinary and enduring contributions to advancing the art of filmmaking. It is the only annual award that ASC reserves for an individual who is not a cinematographer. The award was presented to Cates in recognition of his achievements as a producer and director, and for his many services to the industry. Debbie Allen presented the award. She said, "Gil Cates is a true renaissance man who has earned our respect and admiration as an artist and human being. I am so happy to have this opportunity to publicly thank Gil Cates for everything he does for all of us."

Alan Alda presented the ASC International Achievement Award to Tonino Delli Colli, AIC. The legendary Italian cinematographer began his career at Cinecitta Studios in Rome in 1938 when he was 16 years old. He was a driving force in the birth and evolution of neorealist cinema in Italy during the mid-1940s and 1950s. Delli Colli told the audience that neorealism was "a child of necessity." He explained that the defining characteristic of those films was that they were shot in real-life environments. "We used only ambient light and the light coming through windows as the starting point for photography," he added.

Delli Colli compiled 137 credits over 60 years, including such classic films as The Name of the Rose, Once Upon a Time in the West, The Good, the Bad and the Ugly, Once Upon a Time in America, and Life is Beautiful. He was a frequent collaborator with such iconic Italian filmmakers as Sergio Leone, Federico Fellini and Louis Malle.

Alda said, "It's impossible to sum up the life and career of this extraordinary artist. Tonino said it best, 'The magic of film can't be put into words.'"

Film critic Leonard Maltin received the first-ever ASC Award of Distinction. The award was presented to Maltin by cinematographer Allen Daviau, ASC, who said, "Film critic doesn't begin to describe who Leonard Maltin is, and what he does for all of us. He is a scholar, journalist, historian, preservationist and passionate aficionado of the art form."

Peter Fonda presented the Presidents Award to Richard Moore, ASC. Moore co-founded Panavision with Robert Gottschalk in 1954. He shared a technical Oscar for designing and developing a 65 mm camera system. About eight-and-a-half years deep into Panavision history, Moore returned to his first love, cinematography. Fonda and Moore collaborated on Roger Corman's The Wild Angels. Moore went on to shoot such classic as The Reivers, Myra Breckenridge, Sometimes a Great Notion, The Life and Time of Judge Roy Bean, and Annie.

"Richard (Moore) deserves two of these awards," Fonda said. "One for the remarkable tools he invented after co-founding Panavision, and another one for his filmography."

ASC also gave a nod to the future with the presentation of the Charles B. Lang, Jr., ASC Heritage Award to PJ Raval from the University of Texas at Austin. The award is presented annually to one or more promising student filmmakers. It is dedicated each year to the memory of an ASC member who made a seminal impact on the art of filmmaking. Lang earned 18 Oscar nominations. He took top honors in 1934 for A Farewell to Arms.

"My advice to you is to never give up," said Woody Omens, ASC who presented the award. "This is the beginning of a lifelong journey. Keep learning and keep believing in yourself." 

 

Dalsa va lancer sa caméra digitale 4K en novembre 


Un court-métrage tourné avec la caméra ORIGIN, The Glove, sera présenté le 10 septembre au Toronto International Film Festival. 


Digital has been acknowledged as the future of moviemaking. Not only does it provide immediate feedback it can give cinematographers more power, more possibilities, and more creative control to express their visions. But digital cameras have been hindered with limited resolving power, limited exposure latitude, and "videocam baggage." They just didn't perform to film standards.


 More images in Press Kit


Until now. DALSA's Origin camera ushers in the future with 4K digital capture and unprecedented image quality. The first digital camera designed from the ground up for cinematography, Origin is also the only motion picture camera to offer digital performance truly worthy of the big screen. DALSA has worked closely with a group of industry veterans who truly understand the needs of the professional cinematographer to design a revolutionary system delivering unprecedented imaging power and unrivalled creative control.




DALSA's Origin has not grown from "videocam" roots. It uses standard 35mm cinematography lenses allowing cinematographers to create the depth of field and focus effects they want; it also uses an optical viewing system so operators can actually keep that focus and see the effects.

Origin's film-sized sensor is the best cinematography sensor in the world, offering four times the resolution of "Hi-Def." But more importantly, it provides all the exposure latitude of the best film stocks, with more than 12 stops of linear response.

Origin offers multiple output options for compatibility with with the industry's best digital postproduction tools and workflows, both existing 2K systems and evolving 4K infrastructures. With support from infrastructure leaders, our 4K format not only works for today, it represents an ideal archival-quality master that allows your original vision to move easily to whatever new postproduction or display standards emerge in the years to come.

The DALSA digital cinematography system is an epoch-making advance, giving cinematographers and directors of photography the power to stop worrying about technological limitations and focus on the art of cinematography. 

 

Sam. - Septembre 11, 2004

56th Annual Primetime Emmy Nominees 2004 


Results of the race: September 19 

Outstanding Cinematography For A Single-Camera Series

Alias • Concious • ABC • Touchstone Television
Donald Thorin, Jr., Director of Photography

Carnivàle • Pick A Number • HBO • 3 Arts Entertainment in association with HBO Original Programming
Jeffrey Jur, A.S.C., Director of Photography

CSI: Crime Scene Investigation • XX • CBS • An Alliance Atlantis production in association with CBSP
Frank Byers, Director of Photography

The Sopranos • Irregular Around The Margins • HBO • Chase Films/Brad Grey Television in association with HBO Original Programming
Phil Abraham, Director of Photography

The West Wing • 7A WF 83429 • NBC • John Wells Productions in association with Warner Bros. Television Productions, Inc.
Thomas Del Ruth, A.S.C., Director of Photography


Outstanding Cinematography For A Miniseries Or Movie

American Family - Journey Of Dreams • Chapter 1: The Wedding • PBS • El Norte Productions and KCET/Hollywood in association with The Greenblatt Janolari Studio and Fox Television Studios
Reynaldo Villalobos, Director of Photography

And Starring Pancho Villa As Himself • HBO • A Mark Gordon Company and City Entertainment production in association with HBO Films
Peter James, A.C.S., A.S.C., Director of Photography

Angels In America • Part 2 - Perestroika • HBO • An Avenue Pictures production in association with HBO Films
Stephen Goldblatt, A.S.C., B.S.C., Director of Photography

Iron Jawed Angels • HBO • A Spring Creek production in association with HBO Films
Robbie Greenberg, A.S.C., Director of Photography

Something The Lord Made • HBO • Cort/Madden Productions in association with HBO Films
Donald M. Morgan, A.S.C., Director of Photography


Outstanding Cinematography For Nonfiction Programming (Single Or Multi-Camera)

The Amazing Race • I Could Never Have Been Prepared For What I’m Looking At Right Now • CBS • Amazing Race Productions Inc. and Touchstone Television productions, LLC in association with Jerry Bruckheimer Television and WorldRace Productions, Inc.
Peter Wery, Lead Camera

The Apprentice • Wheeling & Dealing • NBC • Mark Burnett Productions
Matthew Sohn, Director of Photography
Mark Hryma, Director of Aerial Photography

Jockey • HBO • Q-Ball Productions in association with HBO Original Programming
Kate Davis, Cinematographer

Martin Scorsese Presents The Blues • The Soul Of A Man • PBS • A Vulcan Productions/Reverse Angle production in association with Jigsaw Productions and Cappa Productions
Lisa Rinzler, Director of Photography

Survivor • Beg, Barter And Steal • CBS • SEG, Inc.
Mark “Ninja” Lynch, Director of Photography
Michael Murray, Director of Photography
Mark Hryma, Director of Aerial Photography
Derek Lovie, Director of Aerial Photography 

Posted at 09:41 PM    

Dim. - Mars 21, 2004

Présentation de la déjà fameuse ARRI D20 


La nouvelle caméra digitale d'Arriflex présentée aux 11e rencontres de la CST. 


Arri D20. Le cinéma digital va quitter son adolescence grâce à cette nouvelle caméra.

Programme du 25 mars 2004

Elysées Biarritz de 9h30 à 18h30.
Elle est organisée autour de deux films :
" Masaï " de Pascal Plisson, tourné en 35 mm 3 perforations, postproduit en HD, avec la participation du réalisateur, de l’opérateur Manuel Téran, d’Alain Gauthier de Technovision et de l’équipe de Digimage (Juan Eveno, Tommaso Vergallo). Un court entretien filmé de Barthélemy Fougea, directeur de production, sera projeté lors de cette première partie.
" Les Fils du vent " réalisé par Julien Séri, tourné en 35 mm, postproduit en 2K, avec la participation de membres de l’équipe et des responsables des effets spéciaux de L’EST.
Des extraits et des essais d’étalonnage, de trucages de ces films entraîneront un débat en présence de l’équipe du film et des postproducteurs.
La journée se terminera par la présentation d'un court métrage :
" Sur la route ", réalisé par Philippe Coroyer, tourné en 35 mm 3 perforations, postproduit en HD. Cette projection sera suivie d’un court débat.
La matinée et le début d’après-midi commenceront par la présentation du système 35 mm 3 perforations par Gabriel Bauer développeur des caméras Moviecam et Arricam.
La caméra numérique Arri D20 et le système de projection portable 35 mm LOCPRO seront présentés toute la journée dans la salle du sous-sol de l’Elysées Biarritz.
Les débats de cette journée seront modérés par Thierry Beaumel.

Note:
Les onzièmes Rencontres de la CST sont parrainées par Jean-Jacques Annaud

se dérouleront sur une journée, le 25 mars, et sur deux soirées en juin et à la fin de l’année.
Ces Rencontres ont pour but de montrer que les nouvelles façons de concevoir la postproduction influencent évidemment le tournage mais changent aussi la conception générale de la production et de la réalisation d’un film.
Un accent particulier sera mis sur :
- Le tournage 35 mm en 3 perforations, suivi d'une postproduction numérique
- La relation directeur de la photo - coloriste
La CST a choisi différents films ayant chacun utilisé une filière particulière.
Des extraits et des essais d’étalonnage, de trucages de ces films entraîneront un débat en présence de l’équipe du film et des postproducteurs. Les interventions des principaux acteurs de la chaîne permettront de comprendre la cohérence ou l’originalité des moyens entrepris.
Chaque Rencontre accueillera une nouveauté technologique : la caméra numérique d’Arri, la D20 sera ainsi présentée lors de la première journée. Sous réserve, des images seraient projetées grâce aux projecteurs DP 100 de Barco.
Nous avons voulu éviter les comparaisons entre les formats de tournage (numériques ou argentiques) et entre les chaînes de postproduction (HD ou 2K). Il est actuellement facile de voir sur les écrans des films issus de ces filières différentes. II semble plus judicieux actuellement d’effectuer des essais afin d’optimiser une chaîne que de faire des comparatifs de filières souvent en dehors de la réalité économique de la production. 

Posted at 07:04 PM    

Mer. - Mars 10, 2004

Micro Salon de Paris 


Organisé par l'AFC le 11 mars. Sur invitation. 

Panorama du best of du matériel lumière, machinerie et post-prod:

La quatrième édition du Micro Salon AFC
se tiendra à La femis le jeudi 11 mars 2004 de 10 heures à 22 heures

Il se déroulera cette année sur trois étages :
Au niveau -1 les fabricants et loueurs de matériels lumière :
Airstar-JLE Light, Car Grip Films, Cinélumières de Paris, Cininter, Dimatec, Eclalux, K5600, Key Lite, Lumex, Roscolab, R.V.Z., Soft Lights, Transpabry, Transpalux.

Au rez-de-chaussée, la prise de vues :
Aaton, ACS-Aerial Camera Systems, Bogard, Cinecam, Emit, Loumasystems, Panavision Alga, Techni Ciné Phot, Technovision, Transvidéo.

Au second étage, les fabricants de pellicule, les laboratoires et les sociétés de postproduction :
Fujifilm, Kodak, Eclair, G.T.C., L.T.C., L’E.S.T., Mikros Image, Sparx*, un stand de l’AFC, une exposition de caméras anciennes. 

Posted at 09:45 AM    

Dim. - Février 29, 2004

Oscars 2004 "meilleure photo" 


Nominés et vainqueur 

"City of God" (Miramax) Cesar Charlone

"Cold Mountain" (Miramax) John Seale, ACS, ASC

"Girl with a Pearl Earring" (Lions Gate) Eduardo Serra, AFC, ASC

"Master and Commander : The Far Side of the World" (20th Century Fox) Russell Boyd, ACS

"Seabiscuit" (Universal/DreamWorks/Spyglass) John Schwartzman, ASC 

Posted at 11:59 PM    

Sam. - Février 21, 2004

César 2004 de la Meilleure Photo 


Thierry Arbogast pour " Bon voyage " de Jean-Paul Rappeneau 

Etaient également en compétition:

Pierre Aïm pour " Monsieur N. " d'Antoine de Caunes
Agnès Godard pour " Les Egarés " d'André Téchiné 

Posted at 01:23 AM    

18e Prix ASC - meilleurs Directeurs Photo 2003 

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