Arri has endorsed B-Mount as a universal 24 V battery industry standard. The new B-Mount battery interface, as used in current and future Arri cameras and lights, is rapidly being adopted as a brand-agnostic industry standard, bringing benefits to Arri customers and the entire global industry.
Working with cinematographer Ed Lachman, ASC, well known for his work on award-winning films including Erin Brockovich, Far from Heaven and Carol, Panasonic has created a new exposure map tool EL Zone, as part of the VariCam firmware version 9.0 update. The new tool is designed to assist in the shooting process and to provide even more precise exposure control.
Following its Netflix launch in January, Fate: The Winx Saga, the live-action TV adaptation of Nickelodeon’s animated series Winx Club quickly shot to number one in the U.S. and number three in the U.K. Cinematographer Frida Wendel FSF shot the series. As Wendell put it, one of her considerations during the live action shoot was how to play around with the visual effects.
Following the worldwide success of its 2019 debut, the second season of Hierro recently premiered on Movistar + in Spain. Created by brothers Pepe and Jorge Coira, Hierro follows the story of investigating magistrate Candela Montes who is transferred to El Hierro, the most remote of the Canary Islands. When planning the second season, cinematographer Jose Luis Bernal, who shot season one, was very clear that he wanted to go a step further with the look of the show, to get to something different, while ensuring the soul of the story was untouched.
Arri has introduced Remote Solutions, a toolkit that can be customized to meet near-set and off-set workflows. This remote production ecosystem allows professionals to safely and immediately get back to work without compromising operational and creative control.
Sony Electronics has announced a new firmware update for the Alpha 7S III (Version 2.00) that allows users to utilize S-Cinetone, which is inspired by the color science used in Sony’s flagship Venice cinema camera.
Sony Electronics today announced the ILME-FX3 camera that the company says combines the best of its digital cinema technology with advanced imaging features from Alpha brand mirrorless cameras to make Sony’s cinematic look accessible to more creators.
Behind Her Eyes, a six-part mystery-drama for Netflix, based on the novel of the same name by Sarah Pinborough, follows Louise, a single mother with a son and a part-time job in a psychiatrist's office. Louise begins an affair with her boss and strikes up an unlikely friendship with his wife but finds herself caught in a web of secrets and lies where nothing is what it seems.
Barb and Star Go to Vista Del Mar was written by its two lead actors, Annie Mumolo and Kristen Wiig, who also wrote the 2011 smash hit comedy Bridesmaids. Directed by Josh Greenbaum, the film tells the story of best friends who leave their small Midwestern town for the first time to go on vacation in Florida, where they soon find themselves tangled up in adventure, love, and a villain’s evil plot to kill everyone in town. It was shot by cinematographer Toby Oliver, who said, “We shot with lots of color.”
Claudia Raschke is an award-winning New York City based cinematographer best known for such films as Oscar-nominated and Emmy winning RBG (Magnolia/ Participant/ CNN), Oscar-nominated God is Bigger Than Elvis (HBO), Peabody Award-winning Black Magic (ESPN), Oscar short-listed Mad Hot Ballroom (Paramount), Particle Fever (Bond), Atomic Homefront (HBO), and The Freedom to Marry (Argot Pictures). Her latest film, which screened at this year’s Sundance Film Festival, is My Name is Pauli Murray. Fifteen years before Rosa Parks refused to surrender her bus seat, and a full decade before the U.S. Supreme Court overturned separate-but-equal legislation, Pauli Murray was already knee-deep fighting for social justice. A pioneering attorney, activist and dedicated memoirist, Murray shaped landmark litigation—and consciousness— around race and gender equity. As an African American youth raised in the segregated South—who was also wrestling with broader notions of gender identity—Murray understood, intrinsically, what it was to exist beyond previously accepted categories and cultural norms. The film was made by the same team that made RBG including directors Julie Cohen and Betsy West, producer Talleah Bridges McMahon and editor Cinque Northern. My conversation with Raschke, via email, began with that team.