The Digital Cinema Society has completed a short documentary entitled Getting Safely Back to Work in the Age of COVID. The program is dedicated to the memory of the association’s friend and longtime DCS member, Allen Daviau, ASC, an early victim of the disease.
Nominated for two Golden Globes, including one for first-time director Regina King, the film One Night in Miami… explores the dialectic that might have ensued between four young, famous Black men in 1964 as they each stood at a personal crossroads within the larger context of the civil rights movement. The film was shot by cinematographer Tami Reiker, ASC.
The winners of the 2020 American Society of Cinematographers Student Heritage Awards were named Saturday night during a virtual presentation. Three student filmmakers were chosen for demonstrating exceptional cinematography skills in their submitted work.
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.
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.
Robert Lorenz’s movie The Marksman debuted at number one upon release in the U.S. and owes much of its look to cinematographer Mark Patten. “The nature of the shoot is that the story starts in the big vista landscape of New Mexico and then turns into a road movie,” said Patten.
The Society of Camera Operators annual Camera Operator of the Year Awards & Creative Vision Celebration is going virtual and will be held on April 11 from 5:00 to 6:30 pm PST. There the community will come together to celebrate the industry’s triumphs, masterful storytelling, and stand out creativity. Nominees for the Camera Operator of the Year Film & Television categories will be awarded live.
Produced to extremely high production standards and directed by Indian American filmmaker Mira Nair, A Suitable Boy tells the story of spirited university student Lata (Tanya Maniktala) as she comes of age in North India in 1951, at the same time as the country is carving out its own identity as an independent nation and is about to go to the polls for its first democratic general election. The series involves more than a hundred characters, many belonging to one of four extended families.
When Graham Sheldon got the call from showrunner Johnny Fountain to be his DP for remote production on the new Behind Every Man series, he felt up to the challenge. Sheldon’s technical background, and his willingness to try new and potentially unproven shooting methods gave him the confidence to capture the interview-heavy documentary-series amid COVID-19 restrictions.
When director Carlos Montero finalized the deal to turn his novel, The Mess You Leave Behind, into an eight-episode mini-series for Netflix, one of the first calls he made was to cinematographer Isaac Vila to ask him to take on the project. Vila, a frequent Cooke lenses user, knew the range of S7/i Full Frame Plus lenses would allow him to achieve a sharp, subtle and smooth rendering to create magical scenery when playing around with the fog, humidity, stone, and contrasts of the scenery the series would have in the background.