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The A-List: La La Land’s Oscar-winning cinematographer Linus Sandgren
By Iain Blair

Even though it didn’t actually win the Best Picture Oscar,
La La Land was honored with five Academy Awards this year, including one for Best Cinematography for Linus Sandgren. This Swedish DP, known for his kinetic work with David O. Russell on American Hustle and Joy, collaborated closely with La La Land’s Oscar-winning director Damien Chazelle.

Shooting with anamorphic lenses and 35mm film on Panavision Millennium XL2s (with one 16mm sequence) — and capturing his first musical — Sandgren rose to the challenge set by Chazelle (“make it look magical rather than realistic”) by continually pushing the film’s technical and creative boundaries.

That approach is showcased in the bravura opening traffic jam sequence where the camera feels like one of the dancers and part of the choreography. Designed to look like one unbroken shot, it’s actually three, carefully rehearsed, then shot on the freeway ramp over a weekend and stitched together invisibly and seamlessly. For another tour-de-force sequence where stars Ryan Gosling and Emma Stone literally fly up into the stars of the Griffith Observatory planetarium, the team used wires and bluescreen on a set, as filming wasn’t allowed in the real location.

I recently talked to Sandgren about shooting the film, working with Chazelle, his workflow, and the importance of post to him as a cinematographer.

It seems like the camera functions almost like another character in this film.
Yes, our whole approach was to let the camera act as both a curious character, with very active movement, as well as a musical instrument, so we had to move the camera to the rhythm of the music.

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Recreating history for
Netflix’s The Crown

By Randi Altman

If you, like me, binge-watched Netflix’s The Crown, you are now considerably better educated on the English monarchy, have a very different view of Queen Elizabeth, and were impressed with the show’s access to Buckingham Palace.

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Review: Dell’s Precision
7910 tower workstation
By Mike McCarthy

While I started my career on Dell Precision workstations, I have spent the last 10 years with HP boxes under my desk.They have served me well, which is why I used them for five generations.

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Dog in the Night director
and DP Fletcher Wolfe

By Cory Choy

Blackmagic intros Resolve color panels, new camera
By Brady Betzel

Bringing the documentary Long Live Benjamin to life

Brickyard VFX names Bell MD, ups Appleton to EP

Switcher Studio multicam
iOS app updated to v3.0

Behind the Title: Stitch’s senior editor Gabriel Britz

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