Fotografía Cinematográfica
- Autor Magnolia
- Fecha de inicio
Dr_X
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Kathleen Kenedy, presidenta de Lucasfilm, da algunos detalles sobre el aspecto de las nuevas películas de Star Wars en la última American Cinematographer:
The ASC -- American Cinematographer: Interview with Kathleen Kennedy
When it was proposed to shoot The Force Awakens on film, was there any pressure to shoot digitally instead?
Kennedy: No. I think the great thing was that we never got any pressure. Disney was always incredibly supportive of whatever format we chose, and shooting on film was something we decided right up front. It’s something J.J. wanted to do; it’s something Dan Mindel wanted to do; and we’re actually doing the same thing, almost identically, on Episode VIII. I don’t know if we’ll still be doing that by the time we get to IX, but that is the plan. On Rogue One, we’re shooting digitally. [Director of photography] Greig Fraser is using Alexa 65 [cameras] with Panavision lenses, and we’re doing some interesting things. In fact, we’re using [Ultra Panavision 70 lenses]. It’s the only lens package in the world like this right now. We’re actually kind of hoping that [filmmakers will] be incentivized to do more. I was just talking to Steven [Spielberg] and Janusz [Kaminski] about this, too, because what Greig is getting looks fantastic. He is shooting a lot in low light, and the blacks are really rich and beautiful; it’s giving the movie a great look.
We're very open to supporting a director’s vision. I think, for instance, that Chris Miller and Phil Lord [who will co-direct the currently untitled Han Solo film] are going to be approaching a very different genre. They've been doing some artwork, and we’ve been talking about looks and the feel of the movie. I think that’s the beauty of these Star Wars stories that sit outside the saga. They give us some really fun, interesting latitude in creating movies that can genuinely stand alone.
The ASC -- American Cinematographer: Interview with Kathleen Kennedy
When it was proposed to shoot The Force Awakens on film, was there any pressure to shoot digitally instead?
Kennedy: No. I think the great thing was that we never got any pressure. Disney was always incredibly supportive of whatever format we chose, and shooting on film was something we decided right up front. It’s something J.J. wanted to do; it’s something Dan Mindel wanted to do; and we’re actually doing the same thing, almost identically, on Episode VIII. I don’t know if we’ll still be doing that by the time we get to IX, but that is the plan. On Rogue One, we’re shooting digitally. [Director of photography] Greig Fraser is using Alexa 65 [cameras] with Panavision lenses, and we’re doing some interesting things. In fact, we’re using [Ultra Panavision 70 lenses]. It’s the only lens package in the world like this right now. We’re actually kind of hoping that [filmmakers will] be incentivized to do more. I was just talking to Steven [Spielberg] and Janusz [Kaminski] about this, too, because what Greig is getting looks fantastic. He is shooting a lot in low light, and the blacks are really rich and beautiful; it’s giving the movie a great look.
We're very open to supporting a director’s vision. I think, for instance, that Chris Miller and Phil Lord [who will co-direct the currently untitled Han Solo film] are going to be approaching a very different genre. They've been doing some artwork, and we’ve been talking about looks and the feel of the movie. I think that’s the beauty of these Star Wars stories that sit outside the saga. They give us some really fun, interesting latitude in creating movies that can genuinely stand alone.
Elliott
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Geig Fraser? bien bien
Brando
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Hoytema repetira con Nolan para su nueva peli sobre DUNKERQUE
lo comentan en la web de la American Society of Cinematographers, donde le acaban de hacer nuevo miembro de la ASC
Dice: esta ahora preparando la nueva peli de Nolan, tras su anterior colaboracion en Interstellar
lo comentan en la web de la American Society of Cinematographers, donde le acaban de hacer nuevo miembro de la ASC
Dice: esta ahora preparando la nueva peli de Nolan, tras su anterior colaboracion en Interstellar
Brando
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Nominados a los Pemios de la ASC
- The nominated films are:
The winner will be announced Feb. 14 at the 30th ASC Awards ceremony.
- Sicario, Roger Deakins, ASC, BSC
- Bridge of Spies, Janusz Kaminski
- Carol, Ed Lachman, ASC
- The Revenant, Emmanuel Lubezki, ASC, AMC
- Mad Max: Fury Road, John Seale, ASC, ACS
Ganó Lubezki el premio de la ASC
y ademas ayer tambien gano en los premios del cine Britanico, BAFTA
Emmanuel Lubezki Wins ASC Award for 'The Revenant'
nogales
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Deakins debió ganarlo por El asesinato de Jeese James por el cobarde Robert Ford
los 3 Oscars de Chivo son inapelables. Y me gusta mucho Deakins en Sicario, eh?
los 3 Oscars de Chivo son inapelables. Y me gusta mucho Deakins en Sicario, eh?
Dr_X
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Sicario me chifla en general, en lo visual tiene varios momentos grandiosos y Deakins ya es uno de los grandes maestros de todos los tiempos, pero imposible superar la sacada de chorra de Lubezki.
Curiosamente el Deakins de Ave César puede que sea el más discreto en mucho tiempo, aunque la temática no invita a grandes alardes más allá de mostrar un look similar al del cine de la época, mucho más plano de lo que nos tiene acostumbrados.
Curiosamente el Deakins de Ave César puede que sea el más discreto en mucho tiempo, aunque la temática no invita a grandes alardes más allá de mostrar un look similar al del cine de la época, mucho más plano de lo que nos tiene acostumbrados.
Elliott
Desconozco
Deakins a favor tiene que el dire de SICARIO es mejor que Iñarritu
Ropit
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La foto de Ave César me parece extraordinaria, una auténtica maravilla multigenérica (la parte de los romanos es apoteósica) que le saca todo el partido a los 35mm y que no tiene nada que envidiar a la de Sicario. Un deleite en cada frame. Ya son 12 películas que ha hecho con los hermanísimos.
robbing
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Os dejo un "yo me lo guiso,yo me lo como"
Password: monk
La peliculilla está entera pero voy ha cambiar el final porque me da miedo. Que a lo mejor lo ven 4 gatos,pero por si acaso,que está la cosa muy tonta. Asi que os dejo solo un fragmento del principio.
Password: monk
La peliculilla está entera pero voy ha cambiar el final porque me da miedo. Que a lo mejor lo ven 4 gatos,pero por si acaso,que está la cosa muy tonta. Asi que os dejo solo un fragmento del principio.
robbing
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robbing
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Material real en cinemascope,muñecos y cadenas colganeras CG obviamente,sip
El corto ya lo terminé,dura unos 8 minutos pero como dije,voy ha cambiar el final y ya veré.
Que mas quieres saber?
El sonido de los tentáculos está hecho acariciando el teclado.
Cuando el muñeco pequeño mira al suelo mientras le entra el "monje" por detrás,debería estar mirando un pozo sin fondo en CGI,pero el tracking 3D me juega malas pasadas y no he sido capaz de resolverlo....aun.
Las luces volumetricas son fake,no puedo meter sendas maquinas de humo en una catedral por la cara. Pero los flares son reales y no intencionados,la lente que usé flarea en demasía.
Rodado con una BM y un gimbal de pistola para pasar desapercibido. Los guiris flipaban al verme grabando el suelo o una pared.
No se,no se me ocurre mas,pregunta.
Un saludote
Dr_X
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Curioseando sobre la ARRI Alexa 65, me he topado con este artículo de Variety de hace un par de meses: Arri Alexa 65: From Landscapes to Rom-Coms, the Camera That’s Won Over Lensers
Arri Alexa 65: From Landscapes to Rom-Coms, the Camera That’s Won Over Lensers
Famed for its stunning shots of stark landscapes, “The Revenant” showed the dynamic vision of the filmmakers behind it. Those shots also revealed the incredible capabilities of the camera used to film many of those sequences — the Arri Alexa 65.
Designed initially to capture a tremendous amount of detail without distortion, the camera was made to work mostly with visual effects shots. Once the world’s premiere helmers and cinematographers viewed the results, it was quickly integrated into many production pipelines and used in ways that not even the manufacturer could have expected.
Director Alejandro G. Innaritu raved about the Alexa 65’s performance at an early screening of “The Revenant” and by then the secret was out. The camera was introduced just over a year ago and by January it had already been used on at least 18 feature films including “Mission Impossible: Rogue Nation,” “The Revenant,” and even comedies like “How to Be Single.” In the coming year films like “Star Wars: Rogue One” will also be shot using it.
At the time of its release, Arri made 20 Alexa 65s available for rental, but quickly realized the demand was outstripping the supply. This year Arri will more than double the number of Alexa 65s in its warehouses in an attempt to meet filmmakers’ needs.
Neil Fanthom, a group technical marketing executive for Arri acknowledges company execs were cautious when they introduced the camera because of the price. Though the company will not say how much it costs to make one, the amount needed to make that first run of 20 is described as being enough to make you “break out in a cold sweat.”
Imax execs were also so impressed with the camera they entered a joint development effort with Arri to customize the Alexa 65 for use on Imax productions. Neither company is willing to reveal the specifics, but Imax intends to add its own secret sauce to the camera to maximize results for filmmakers working on Imax-friendly films, according to Greg Foster, senior executive vice president, Imax Corp. and CEO of Imax Entertainment.
“It’s not a coincidence that some of the biggest filmmakers have quickly gravitated to this camera and they’re also gravitating to our partnership with the camera,” Foster says.
Florian Ballhaus, shot parts of “The Divergent Series: Allegiant,” which opens in March, on the Alexa 65 and found the camera allowed him to capture landscapes in great detail while still remaining user friendly and maintaining workflow. The cinematographer also liked that it made 8K resolution available if he wanted it, while he still had the opportunity to reduce the file size.
“I don’t know if people who watch this movie on their phones will notice but on the big screen you can definitely see this camera renders faces beautifully so you can shoot people in front of landscapes in a way that you catch every detail but you have a nice focus fall off,” Ballhaus says.
Though Ballhaus did find he needed a bit more light to shoot with the Alexa 65 and that you need to plan for large digital files, he only felt limited by the narrow range of lenses available for the camera at this point. There are no zooms available, for example. But the dp believes this will change over time and that there are still tremendous advantages to working with the camera.
Robert Elswit, who won an Oscar as the dp on “There Will Be Blood,” shot the underwater sequences in “Mission: Impossible — Rogue Nation” using the Alexa 65 and loved the results, though he still tends to prefer working with film.
“There’s a fineness of detail you get with this camera and you get it without things being overly sharp or overly crisp,” says Elswit. “The problem has been in the past that you either can’t get the detail or if you do it’s painful and unpleasant to see.”
After working with the camera, Ballhaus believes it will have a significant impact on the look of movies because of the options it affords filmmakers. He also thinks with this camera now available — as well as other high performance digital cameras — digital cameras can now truly compete with film cameras in performance and image capture.
“When Christian Ditter, the director of “How to Be Single,” saw the rushes, he called me in Germany because he was so excited about the footage we shot,” writes Christian Rein, dp for the film, in an email to Variety. “He said that he never ever again wants to shoot on an ordinary 35mm sensor digital camera. “
Ballhaus puts it simply: “It’s the most beautiful image you can capture digitally right now — hands down.”
Arri Alexa 65: From Landscapes to Rom-Coms, the Camera That’s Won Over Lensers
Famed for its stunning shots of stark landscapes, “The Revenant” showed the dynamic vision of the filmmakers behind it. Those shots also revealed the incredible capabilities of the camera used to film many of those sequences — the Arri Alexa 65.
Designed initially to capture a tremendous amount of detail without distortion, the camera was made to work mostly with visual effects shots. Once the world’s premiere helmers and cinematographers viewed the results, it was quickly integrated into many production pipelines and used in ways that not even the manufacturer could have expected.
Director Alejandro G. Innaritu raved about the Alexa 65’s performance at an early screening of “The Revenant” and by then the secret was out. The camera was introduced just over a year ago and by January it had already been used on at least 18 feature films including “Mission Impossible: Rogue Nation,” “The Revenant,” and even comedies like “How to Be Single.” In the coming year films like “Star Wars: Rogue One” will also be shot using it.
At the time of its release, Arri made 20 Alexa 65s available for rental, but quickly realized the demand was outstripping the supply. This year Arri will more than double the number of Alexa 65s in its warehouses in an attempt to meet filmmakers’ needs.
Neil Fanthom, a group technical marketing executive for Arri acknowledges company execs were cautious when they introduced the camera because of the price. Though the company will not say how much it costs to make one, the amount needed to make that first run of 20 is described as being enough to make you “break out in a cold sweat.”
Imax execs were also so impressed with the camera they entered a joint development effort with Arri to customize the Alexa 65 for use on Imax productions. Neither company is willing to reveal the specifics, but Imax intends to add its own secret sauce to the camera to maximize results for filmmakers working on Imax-friendly films, according to Greg Foster, senior executive vice president, Imax Corp. and CEO of Imax Entertainment.
“It’s not a coincidence that some of the biggest filmmakers have quickly gravitated to this camera and they’re also gravitating to our partnership with the camera,” Foster says.
Florian Ballhaus, shot parts of “The Divergent Series: Allegiant,” which opens in March, on the Alexa 65 and found the camera allowed him to capture landscapes in great detail while still remaining user friendly and maintaining workflow. The cinematographer also liked that it made 8K resolution available if he wanted it, while he still had the opportunity to reduce the file size.
“I don’t know if people who watch this movie on their phones will notice but on the big screen you can definitely see this camera renders faces beautifully so you can shoot people in front of landscapes in a way that you catch every detail but you have a nice focus fall off,” Ballhaus says.
Though Ballhaus did find he needed a bit more light to shoot with the Alexa 65 and that you need to plan for large digital files, he only felt limited by the narrow range of lenses available for the camera at this point. There are no zooms available, for example. But the dp believes this will change over time and that there are still tremendous advantages to working with the camera.
Robert Elswit, who won an Oscar as the dp on “There Will Be Blood,” shot the underwater sequences in “Mission: Impossible — Rogue Nation” using the Alexa 65 and loved the results, though he still tends to prefer working with film.
“There’s a fineness of detail you get with this camera and you get it without things being overly sharp or overly crisp,” says Elswit. “The problem has been in the past that you either can’t get the detail or if you do it’s painful and unpleasant to see.”
After working with the camera, Ballhaus believes it will have a significant impact on the look of movies because of the options it affords filmmakers. He also thinks with this camera now available — as well as other high performance digital cameras — digital cameras can now truly compete with film cameras in performance and image capture.
“When Christian Ditter, the director of “How to Be Single,” saw the rushes, he called me in Germany because he was so excited about the footage we shot,” writes Christian Rein, dp for the film, in an email to Variety. “He said that he never ever again wants to shoot on an ordinary 35mm sensor digital camera. “
Ballhaus puts it simply: “It’s the most beautiful image you can capture digitally right now — hands down.”
Perdonad que es un pelín off-topic porque es una pregunta técnica.
Una amiga está haciendo un trabajo de auxiliar con una Canon C300 Mark II. ¿Alguno sabéis si se puede desconectar el micro interno? No necesitan audio y se cargarán la pista en pospro pero por si se puede desactivar en el set.
Según el manual:
Gracias.
Una amiga está haciendo un trabajo de auxiliar con una Canon C300 Mark II. ¿Alguno sabéis si se puede desconectar el micro interno? No necesitan audio y se cargarán la pista en pospro pero por si se puede desactivar en el set.
Según el manual:
Gracias.
Miguel_Angel
Miembro habitual
Pues te respondo para decirte que como nunca he rodado con esa cámara no sabría decirte, igual alguno de los chicos por aquí ha rodado con ella y ha conectado un adaptador roto en el conector para que no se grabe audio en la cámara 
.
Un saludo.
.Un saludo.
Yo he rodador con la C300 original wfogg pero no sabria decirte, cuatro años hace de ese rodaje y solo rodé un par de dias....vamos que no me acuerdo de nada 
A mi creo que me va a tocar rodar con la Amira en las proximas dos semanas, primera experiencia con ella... a ver que tal se porta.
Creo que han sacado una actualización para que se pueda rodar con ella en 4K.
A mi creo que me va a tocar rodar con la Amira en las proximas dos semanas, primera experiencia con ella... a ver que tal se porta.
Creo que han sacado una actualización para que se pueda rodar con ella en 4K.