Tag Archives: Director of Photography

The 5th annual Art of Cinematography speaker series set for NYC

Manhattan Edit Workshop’s “Sight, Sound & Story: The Art of Cinematography” returns to New York City on November 14, taking place at the NYIT Auditorium Theater on Broadway.

This year’s line-up features cinematographers Dean Cundey, ASC, (Jurassic Park, Halloween, Who Framed Roger Rabbit, Back to the Future, Apollo 13), Tom Hurwitz, ASC, (American Dream, Harlan County U.S.A., The Queen of Versailles), Claudia Raschke (RBG, God is the Bigger Elvis) and Tom Houghton, ASC, (Elementary, American Horror Story: Coven, Rescue Me).

Moderators include David Leitner (director/cinematographer), Jim Kamp (producer) and Tony Wisniewski (Zeiss’marketing manager).

Here is the evening’s schedule:

4:15pm – 5:30pm – In The Moment: The Art of Cinematography in Documentary Filmmaking
Panelists: Tom Hurwitz, ASC, Claudia Raschke

5:45pm – 6:45pm – The New Age of TV: Bringing the Look of Cinema to the Small Screen

Panelist: Tom Houghton, ASC

7:00pm – 8:30pm – Behind the Lens: A Conversation with Oscar-nominated cinematographer Dean Cundey, ASC

Seating is limited. You can purchase tickets here. Cost includes a ticket to all panels and networking party with an open bar, hors d’oeuvres and sponsored giveaways.

DP Chat: Late Night cinematographer Matthew Clark

Directed by Nisha Ganatra, Amazon Studios’ comedy Late Night stars Emma Thompson as Katherine, a famous talk show host who hires Molly, her first-ever female writer (played by Mindy Kaling, who also wrote the screenplay).

Ganatra — whose rich directing background includes Transparent, Brooklyn Nine-Nine, Fresh Off the Boat and Chutney Popcorn — worked closely with her, DP Matthew Clark. The two were students together at NYU’s Tisch School of the Arts. Clark’s credits include Pitch Perfect 3, Up All Night and 30 Rock, among many others.

Matthew Clark

Clark has said that one of the toughest tasks in shooting comedy is to make it look and feel natural for the audience while allowing the space for them to laugh. “The visuals must have some depth to them but you need to let the actors work things out on screen,” he explains. “That was a big part for this film knowing the way Nisha likes to work. She’s visual but she’s also very actor-oriented, so one of the things I wanted to do was make our technical footprint as small as possible to give the actors room to work and to find those comic moments.”

For Late Night, Clark describes the look as “heightened naturalism.” He created a look book of images from still photographers, including Gregory Crewdson (artificial reality) and Robert Frank (super naturalism). He also worked with Light Iron colorists Corinne Bogdanowicz in Los Angeles and Sean Dunckley in New York to develop the look during prep. “There were three distinct kind of looks we wanted,” describes Clark. “One was for Katherine’s home, which was more elegant with warm tones. The television studio needed to be crisp and clean with more neutral tones. and for the writers’ room office, the look was more chaotic and business-like with blue or cooler tones.”

We recently reached out to Clark with a few questions designed to learn more about his work on the film and his most recent collaboration with Ganatra.

How would you describe the overarching look of the film? What did you and the director want to achieve? You’ve described it as heightened naturalism. Can you expand on that?
Nisha and I wanted a sophisticated look without being too glamorous. We started off looking at the story, the locations and the ideas that go along with placing our characters in those spaces — both physically and emotionally. Comedy is not easy in that regard. It can be easy to go from joke to joke, but if you want something layered and something that lasts in the audience’s mind, you have to ground the film.

So we worked very hard to give Nisha and the actors space to find those moments. It meant less lighting and a more natural approach. We didn’t back away completely though. We still used camera and light to elevate the scenes and accentuate the mood; for example, huge backlight on the stage, massive negative space when we find out about Katherine’s betrayal or a smoke-filled room as Katherine gives up. That’s what I mean by “heightened naturalism.”

How did Ganatra describe the look she wanted?
Nisha and I started going over looks well before prep began. We talked photos and films. Two of our favorites photographers are William Eggleston and Philip-Lorca DiCorsia. So I was ahead of the game when the official prep started. There was a definite shorthand. Because of that, I was able to go to Light Iron in LA and work out some basic looks for the film — overall color, highlights, shadow detail/color, grain, etc. We wanted three distinct looks. The rest would fall into place.

Katherine’s home was elegant and warm. The writers’ office was cool and corporate. The talk show’s studio was crisper and more neutral. As you know, even at that point, it’s just an idea unless you have your camera, lenses, etc.

Can you talk about the tools you chose?
Once prep started, I realized that we would need to shed some weight to accomplish our days due to very few extra days for rigging and the amount of daily company moves. So we went without a generator and took advantage of the 5000 ISO Panasonic VariCam 35 in conjunction some old, beautiful Panavision UltraSpeeds and Super Speeds.

That lens choice came after I sat with Dan Sasaki and told him what I was going for. He knew I was a fan of older lenses having used an old set of Baltars and similar Ultras on my last movie. I think they take the digital edge off of the sensor and can provide beautiful anomalies and flares when used to achieve your look. Anyway, I think he emptied out the closets at the Woodland Hills location and let us test everything. This was very exciting for a DP.

What makes the process a smooth one for you?
I think what got me started, artistic inspiration and rules/process, all stem from the same thing. The story, the telling, the showing and the emotion. The refined and the raw. It sounds simple. but for me, it is true.

Always try to serve the story; don’t get tied to the fancy new thing or the splashy piece of equipment. Just tell the story. Sometimes, those things coincide. But, always tell a story.

Where do you find inspiration for your work?
I think inspiration for each project comes from many different sources — music, painting, photography, a walk in the afternoon, a sound. That’s very vague, I know, but we have to be open to the world and draw from that. Obviously, it is crucial to spend time with the director — to breathe the same air, so to speak. That’s what puts me on the path and allows me to use the inspirations that fit the film.

Main Image: Matthew Clark and director Nisha Ganatra.

ASC celebrates cinematographers with annual award noms

The nominees for the 32nd Annual ASC Awards for Outstanding Achievement were revealed in all categories at a special event staged at the ASC Clubhouse.

In an announcement that drew cheers, Mudbound cinematographer Rachel Morrison became the first woman to be nominated in the feature category. Joining her in the Theatrical Release category were Roger Deakins for Blade Runner 2049, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk and Dan Laustsen for The Shape of Water.

Laustsen was the other first-time nominee for his work on Guillermo del Toro’s magical The Shape of Water. Deakins, a previous winner of the ASC’s Lifetime Achievement Award, celebrated his 15th nomination in the category. Delbonnel scored his fourth nomination, while Van Hoytema’s work was recognized for the second time.

In the television categories, HBO’s Game of Thrones and Syfy’s 12 Monkeys both received two nominations.

Here’s the complete list of this year’s nominees:

Dunkirk

Theatrical Release

  • Roger Deakins, ASC, BSC for Blade Runner 2049
  • Bruno Delbonnel, ASC, AFC for Darkest Hour
  • Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk
  • Dan Laustsen, ASC, DFF for The Shape of Water
  • Rachel Morrison, ASC for Mudbound

Spotlight Award
(Recognizing outstanding cinematography in feature-length projects that are screened at festivals, internationally or in limited theatrical release.)

  • Máté Herbai, HSC for On Body and Soul
  • Mikhail Krichman, RGC for Loveless
  • Mart Taniel for November

    The Crown

     

Episode of a Series for Non-Commercial Television

  • Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
  • Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
  • Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
  • Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
  • Alasdair Walker for Outlander (“The Battle Joined”) on Starz

 Episode of a Series for Commercial Television

  • Dana Gonzales, ASC for Legion (“Chapter 1”) on FX
  • David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
  • Kurt Jones for The Originals (“Bag of Cobras”) on The CW
  • Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
  • Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

Motion Picture, Miniseries, or Pilot Made for Television

  • Pepe Avila del Pino for The Deuce pilot on HBO
  • Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
  • Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
  • Shelly Johnson, ASC for the Training Day pilot (“Apocalypse Now”) on CBS
  • Christopher Probst, ASC for the Mindhunter pilot on Netflix

The winners will be announced at a ceremony on February 17 in Hollywood, emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM).

Main Photo: The Shape of Water

DP John Kelleran shoots Hotel Impossible

Director of photography John Kelleran shot season eight of the Travel Channel’s Hotel Impossible, a reality show in which struggling hotels receive an extensive makeover by veteran hotel operator and hospitality expert Anthony Melchiorri and team.

Kelleran, who has more than two decades experience shooting reality/documentary projects, called on Panasonic VariCam LT 4K cinema camcorders for this series.

eWorking for New York production company Atlas Media, Kelleran shot a dozen Hotel Impossible hour-long episodes in locations that include Palm Springs, Fire Island, Capes May, Cape Hatteras, Sandusky, Ohio, and Albany, New York. The production, which began last April and wrapped in December 2016, spent five days in each location.

Kelleran liked the VariCam LT’s dual native ISOs of 800/5000. “I tested ISO5000 by shooting in my own basement at night, and had my son illuminated only by a lighter and whatever light was coming through the small basement window, one foot candle at best. The footage showed spectacular light on the boy.”

Kelleran regularly deployed ISO5000 on each episode. “The crux of the show is chasing out problems in dark corners and corridors, which we were able to do like never before. The LT’s extreme low light handling allowed us to work in dark rooms with only motivated light sources like lamps and windows, and absolutely keep the honesty of the narrative.”

Atlas Media is handling the edit, using Avid Media Composer. “We gave post such a solid image that they had to spend very little time or money on color correction, but could rather devote resources to graphics, sound design and more,” concludes Kelleran.

Quick Chat: DP Dejan Georgevich, ASC

By Randi Altman

Long-time cinematographer Dejan Georgevich, ASC, has been working in television, feature film production and commercials for over 35 years. In addition to being on set, Georgevich regularly shares his experience and wisdom as a professor of advanced cinematography at New York’s School of Visual Arts.

Georgevich’s TV credits include the series Mercy, Cupid, Hope & Faith, The Book of Daniel and The Education of Max Bickford. In the world of documentaries, he has worked on HBO’s Arthur Ashe: Citizen of the World, PBS’ A Wayfarer’s Journey: Listening to Mahler and The Perfumed Road.

One of his most recent projects was as DP on Once in a Lifetime, a 30-minute television pilot about two New Jersey rockers trying to make it in the music business. The show’s musical roots are real — Once in a Lifetime was written by Iron Maiden’s bass player and songwriter, Stephen Harris.

Georgevich, who was in Australia on a job, was kind enough to use some of his down time to answer our questions about shooting, lighting, inspiration and more. Enjoy…

How did you decide TV production and cinematography, in particular, would be your path?
Perhaps it all started when I hauled around a Bell & Howell projector half my size in elementary school, showing films to an assembly of kids transfixed to a giant screen. Working on the stage crew in middle school revealed to me that I was “a fish to water” when it came to lighting.

You work on a variety of projects. How does your process change, if at all, going from a TV spot to a TV series to a documentary, etc.?
Each genre informs the other and has made me a better storyteller. For example, my work in documentaries demands being sensitive to anticipating and capturing the moment. The same skills translate perfectly when shooting dramas, which require making the best choices that visually express the idea, mood and emotion of a scene.

How do you decide what is the right camera for each job? Or do you have a favorite that you use again and again?
I choose a camera that offers the widest dynamic range, renders lovely skin tones, a natural color palette, and is user-friendly and ergonomic in handling. My camera choice will also be influenced by whether the end result will be projected theatrically on a big or small screen.

Once in a Lifetime

You used the Panasonic Varicam 35 on the TV pilot Once in a Lifetime. Why was this the right camera for this project, and was most of the shooting outdoors?
Once in a Lifetime was an independently financed TV pilot, on a tight schedule and budget, requiring a considerable amount of shooting in low-light conditions. This production demanded speed and a limited lighting package because we were shooting on-location night interiors/exteriors, including nightclubs, rooftops, narrow tenement apartments and dimly-lit city streets. Panasonic Varicam 35’s dual ISO of 800 and 5000 provided unbelievable image capture in low-light conditions, rendering rich blacks with no noise!

What were some of the challenges of this project? Since it was a pilot, you were setting a tone for the entire series. How did you go about doing that?
The biggest challenge for me was to “re-educate my eye” working with the Panasonic Varicam 35, which sees more than what my eye sees, especially in darkness. To my eye, a scene would look considerably under-lit at times, but surpringly the picture on the monitor looked organic and well motivated. I was able to light predominately with LEDs and low-wattage lights augmenting the practicals or, in the case of the rooftop, the Manhattan night skyline. House power and/or portable put-put generators were all that was necessary to power the lights.

The pilot’s tone, or look, was achieved using the combination of wide-angle lenses and high-contrast lighting, not only with light and shadow but with evocative primary and secondary colors. This is a comedic story about two young rockers wanting to make it in the music business and their chance meeting with a rock ’n’ roll legend offering that real possibility of fulfilling their dreams.

How did you work with the DIT on this project, and on projects in general?
I always prefer and request a DIT on my projects. I see my role as the “guardian of the image,” and having a DIT helps preserve my original intent in creating the look of the show. In other words, with the help of my DIT, I like to control the look as much as possible in-camera during production. I was very fortunate to have Dave Satin as my DIT on the pilot — we have worked together for many years — and it’s very much like a visual  pitcher/catcher-type of creative relationship. What’s more, he’s my second set of eyes and technical insurance against any potential digital disaster.

Can you talk about lighting? If you could share one bit of wisdom about lighting, what would it be?
As with anything to do with the arts, I believe that lighting should be seamless. Don’t wear it on your sleeve. Keep it simple… less is best! Direction of light is important as it best describes a story’s soul and character.

What about working with colorists after the shoot. Do you do much of that?
As a DP, I believe it’s critically important that we are active participants in post color correction. I enjoy outstanding collaborations with some of the top colorists in the business. In order to preserve the original intent of our image we, as directors of photography, must be the guiding hand through all phases of the workflow. Today, with the advent of digital image capture, the cinematographer must battle against too many entities that threaten to change our images into something other than what was originally intended.

What inspires you? Fine art? Photography?
I make it a point to get my “creative fix” by visiting art museums as often as possible. I’m inspired by the works of the Grand Master painters and photographers — the works of Rembrandt, Vermeer, Caravaggio, Georges de la Tour, Edward Hooper, Henri Cartier Bresson, William Eggelston — too many to name!  Recreating the world through light and perspective is magical and a necessary reminder of what makes us alive!

What haven’t I asked that you feel is important to talk about?
We’re currently experiencing a digital revolution that is being matched by an emerging revolution in lighting (i.e. LED technology). The tools will always change, but it’s our craft reflecting the heart and mind that remains constant and so important.

Checking in with DP Timur Civan

By Randi Altman

New York City born and raised, Timur Civan’s path to becoming a director of photography started with his background in fine art, something he studied in school and something that still influences his work… but that path wasn’t exactly planned.

“I fell into cinematography by accident,” he explains. “I had been working on a series of sculptures that had video elements in them. Through a bit of luck, someone noticed what I had been working on. So with zero experience, I wound up DP-ing a commercial for an ad agency as my first film job. The day we finished, I was asked to work on another shoot the following week.”

Things just took off from there and within a month he was a full-time director of photography. As a DP, Civan (@timurcivan) mainly focuses on spot and feature films but welcomes the opportunity to work Continue reading