The Short Game about competitive junior golfers around the world was shot with Canon’s C300 digital cinema camera.
Great stories, in reality, aren’t the only ingredient needed to make a successful documentary. Filmmakers also need patience, perseverance, creativity, luck and, of course, funding. To say that co-directors Pamela Green and Jarik van Sluijs have a great story to tell is an understatement: largely unknown and unappreciated, Alice Guy-Blaché was, without question, one of the most important figures in motion picture history. Now, Green and van Sluijs are using digital cinema technology to gather, assemble and organize a wide range of information to get Guy-Blaché’s story ready for the big screen. And what a story it is.
While undertaking his numerous and diverse projects — whether they are leading filmmaking master classes in Las Vegas, Key West, and Majorca, teaching workshops in Istanbul, or filming a documentary in Forchheim in Bavaria — DP Sebastian Wiegärtner is often on the go. As one of the most renowned German DSLR filmmakers, he not only films but also inspires other cinematographers at his workshops.
Douglas Trumbull’s latest project UFOTOG, the world’s first high-frame rate (120 fps), stereoscopic 3D film, has completed production.
While on location shooting the documentary about traditional silk weavers, Silkies of Madagascar, award-winning National Geographic stills photographer and video director David Evans decided to make the leap to Director of Photography.
When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality.
For the first in a series of quirky national spots for the Cartoon Network/Adult Swim, cinematographer Gavin Fisher decided to use the Blackmagic camera, Canon lenses, and his trusty Sachtler Ace M for support.
When Florida-based director/cinematographer, John Deeb isn’t shooting spots for high-profile clients such as Hard Rock Hotels or Disney, he likes to expand the limits of his creativity with music videos like a recent one for indie rocker Matt Pond. To shoot Love to Get Used, a song off Pond’s new album, The Lives Inside the Lines in Your Hand, Deeb got to experiment with different techniques not always viable on commercial productions.