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I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

I got asked to photograph Ryan Gosling, Sandra Hüller, and some of the team behind @projecthailmary at the @griffithobservatory.

I was inspired by cinematographer @greigfraser_dp’s work so I used real optical glass filters to match the look of the film.

I’ll have a full breakdown on how I captured these very soon!

@amazonmgmstudios #ad #AmazonMGMStudiosPartner #projecthailmary

Production Assistant: @stephenseanford
📷 @sonyalpha

Cinematographer Jeff Cronenweth, ASC breaks down the @reddigitalcinema camera test he shot with David Fincher and @leonardodicaprio while filming THE SOCIAL NETWORK (2010)

We also chat about the progression of camera technology since then, and the new possibilities for storytelling now.

Ft. @cronenweth @impatrickt @reddigitalcinema

#movies #cinematography #filmmaking

Jack is all my friends and family when I try to explain film formats to them 😂

#movies #28yearslater #cinematography

This is what an expensive movie is supposed to look like. Usually when you see how much a movie costs to make, you think to yourself, “How in the hell did it cost $250 million to make that?” When I watched this new trailer for The Odyssey, I thought, “How did this only cost $250 million?” This thing looks like it cost a billion dollars to make. I don’t understand how any of this got made. These are real ships out in the ocean. That’s not a CGI ship. This dude just gets thrown into a tree. I’m sure there’s a visual effect here, but maybe he actually just got thrown into a tree. I have no idea. You’re shooting the entire thing on IMAX film cameras. You’re moving the camera left, right, and center. You got, like, 1,000 extras. I thought this stuff was impossible now. They are not cutting corners in this movie. I think they’re actually looking for corners to make it harder. But yeah, this is just, like, how an expensive movie is supposed to look and feel. This is the kind of movies that I grew up with in the ‘80s and ‘90s, into the 2000s. When a big blockbuster was coming out, this is what it felt like. This trailer is unbelievable, and I think the only thing that will top it is getting to see it in an IMAX theater.

@imax @universalpictures #movies #cinema #theodyssey

The most insane IMAX film strip I own.

This is a real IMAX film strip from the making of Star Wars. Let me explain. Back in 1996, there was an IMAX documentary released called Special Effects. There is no digital version of this. There was never a home release of Special Effects, and the only copy that I can find of it is this camcorder bootleg that is dubbed in French. This was an absolutely incredible IMAX documentary about the magic of movies, specifically at Industrial Light & Magic in the ‘90s. And it just so happens that while they were filming this documentary, George Lucas was about to release the special editions of the original Star Wars trilogy, which means there was a massive, huge, loud IMAX film camera capturing behind the scenes while they were at ILM creating all of these special effects. It’s so unfortunate that this is lost media because I remember seeing this as a kid at the Toronto Science Center and being blown away. I was able to source these film strips from a seller who happened to have a release print, I’m assuming, and that’s how I got these scans. This film strip is definitely one of my prized possessions now. I just think it’s a very cool piece of IMAX history, film history, and of course, Star Wars history.

#imax #starwars #movies

Resident Evil looks beautiful.

The way they shot this new Resident Evil movie is really interesting, and I’m gonna tell you why. Zach Cregger, the director and writer of Weapons and Barbarian, is back with a Resident Evil movie. This is a video game adaptation. And why I think this looks so good is I love how they’re using the third-person perspective from the video game. You, the viewer, are now watching someone play Resident Evil in the movie. A lot of this movie is, like, third person, you know? So w- there’s a steady cam following Austin, our actor, and it was really a dance between him and our camera operator. So I had a really wide lens, and we’re kinda over his shoulder, and so when he looks left, we, like, pivot around to look left, and when he looks right, we swing around and look right. So I really tried to incorporate just the visual language of the games. We also need to talk about the night scenes because they are gorgeous. For some reason, a lot of cinematographers these days are allergic to lighting night scenes. You can actually see what’s happening in these frames. The aesthetic of this movie makes a lot more sense when you realize Dariusz Wolski shot this, and he also shot Dark City. All in all, I just think this is a great-looking movie, and it looks like a lot of fun, and it really captures the energy of what it’s like to play a video game like Resident Evil. So I’m very hyped to see this movie, and I’m curious if you are, too.

#movies #residentevil #cinema

@sonypictures @zcregger @dariusz_wolski_official

This is a really cool movie, and I’m upset that you probably haven’t seen it. The year is 1986, and five years before director Jonathan Demme and cinematographer Tak Fujimoto would make Silence of the Lambs, they made Something Wild. This is one of the best ‘80s movies of all time, and yes, that is a very young Jeff Daniels, and he plays a New York businessman who gets talked into skipping out on lunch by this mysterious, unpredictable woman played by none other than Melanie Griffith. The first half of this movie feels so warm and alive. It’s basically a classic ‘80s road trip film. Then Ray Liotta shows up. This film stops being a fun road trip comedy and becomes something genuinely terrifying. I also love watching a director’s filmography before their masterpiece, and so if you love Silence of the Lambs, I really think you’ll like this movie a lot. Also, Jeff Daniels is just amazing in this movie, and his fits are unreal. Thanks. So if you haven’t seen it, I definitely recommend finding it because this movie is Something Wild.

#movies #cinema #amazonpartner

moving stills with a large format cinema camera.

This camera captures a feeling that’s hard to describe. Watching the images it produces is reminiscent of how memories playback in your mind.

🎥 @fujifilmproduction GFX Eterna 55

lens: 50mm T1.0 @zhongyi.optics

#cinema #filmmaking #fujifilm

moving stills with a large format cinema camera.

This camera captures a feeling that’s hard to describe. Watching the images it produces is reminiscent of how memories playback in your mind.

🎥 @fujifilmproduction GFX Eterna 55

lens: 50mm T1.0 @zhongyi.optics

#cinema #filmmaking #fujifilm

moving stills with a large format cinema camera.

This camera captures a feeling that’s hard to describe. Watching the images it produces is reminiscent of how memories playback in your mind.

🎥 @fujifilmproduction GFX Eterna 55

lens: 50mm T1.0 @zhongyi.optics

#cinema #filmmaking #fujifilm

moving stills with a large format cinema camera.

This camera captures a feeling that’s hard to describe. Watching the images it produces is reminiscent of how memories playback in your mind.

🎥 @fujifilmproduction GFX Eterna 55

lens: 50mm T1.0 @zhongyi.optics

#cinema #filmmaking #fujifilm

moving stills with a large format cinema camera.

This camera captures a feeling that’s hard to describe. Watching the images it produces is reminiscent of how memories playback in your mind.

🎥 @fujifilmproduction GFX Eterna 55

lens: 50mm T1.0 @zhongyi.optics

#cinema #filmmaking #fujifilm

moving stills with a large format cinema camera.

This camera captures a feeling that’s hard to describe. Watching the images it produces is reminiscent of how memories playback in your mind.

🎥 @fujifilmproduction GFX Eterna 55

lens: 50mm T1.0 @zhongyi.optics

#cinema #filmmaking #fujifilm

PSA if you own an iPhone.

Turn this on right now on your iPhone or you are gonna be screwed. I saw some samples from Images 2.0, which is the new ChatGPT s*** model, and what really pisses me off is we are so behind at regulating this kind of stuff that they’re able to just release models like this into the public and just see what happens. I’ll tell you what’s gonna happen: bad things. You need to make sure Live Photos are turned on your iPhone today. Like, right now, don’t even finish watching the rest of this video. Go turn Live Photos on and make sure all your friends and family do it, too. When you have Live Photos on, every time you take a picture, it’s gonna record about two or three seconds, so you’d actually see the moment that happened around taking the photo. Live Photos are baked into iOS, it’s a feature of the operating system, and it’s not something you can just create with AI. You have to tap, press, and hold on the photo to see the animation. The one company I’m still holding out for here is Apple when it comes to images because all their image generation sucks, and that is entirely on purpose to make sure that you know that it’s fake, and it just so happens they’ve accidentally created a great authentication system for ensuring that a photo that you send and receive is real, and that’s Live Photos.
#apple #camera

This is one of my favorite hidden VFX shots. The iconic Show Me the Money scene from Jerry Maguire was actually shot with a green screen. Show me the money! I was diving into some behind the scenes on Jerry Maguire because I just think it’s a beautifully photographed movie. Shout out to Janusz Kamiński. But then I saw this raw footage of the Show Me the Money sequence, and I was like, “Wait a second, they did this on a green screen?” I’d actually always assumed they had used translights, which are these giant translucent photographs that you can light from behind to create fake windows in spaces that don’t have them. So I was starting to look into a little bit more, and the work was done by Cinesite, who also did Space Jam that same year. Tech aside, I do think this is a really interesting shot because nobody ever would’ve assumed this was done in VFX. The scene is so well-written and performed and shot that you completely suspend your disbelief and just assume they’re in an office somewhere, when actually the entire office was built on a sound stage and that’s not a real world outside. The real world is being created for you. And then fast-forward to now, because obviously all this tech has gotten so much easier, and there’s that Doug Liman movie coming out where the entire office is being created with AI. But when I see the behind-the-scenes from Jerry Maguire, I get really excited and exhilarated about what you can do with filmmaking. Whereas I see this shot from the AI movie, I’m like, “I never want to be on a set like this. This looks so depressing. This is some incredible loser behavior.” So when we talk about movies feeling real and looking real, sometimes they’re fake, and that’s okay. But the thing about AI is it’s not about creating something real at all. It’s just about money.

#movies #filmmaking #vfx

This is such a cool shot. The second season of BEEF just dropped on Netflix with an all-new cast and storyline, but there’s one shot in the first episode that I really loved. Right as this argument between Oscar Isaac and Carey Mulligan is escalating, you can see the camera go from a smooth dolly shot to a shaky handheld shot with no cut. You can actually see the operator grab the camera. Not only is it just a great visual representation to indicate the rising tension in this argument, it really sets a great visual narrative tone for the season, which is completely unpredictable and off the rails. Beef season two was shot by James Laxton (@mrjameslaxton), who also shot Moonlight. He’s making incredible visual decisions this season. I love this deep saturation. And I mean, come on, look how beautiful these night exteriors are. This is extremely my s***. Beef season two is fantastic, so if you’re a fan of good writing and good lighting, definitely check it out on @Netflix now.

#NetflixPartner #cinematography #filmmaking

If you can film for IMAX… you should film for IMAX.

I’m filming myself right now with an IMAX camera. I’m shooting this on the Fujifilm GFX Eterna 55 which very recently was certified by IMAX for digital IMAX productions. But this camera’s different and it’s special because this one is relatively affordable in the world of digital IMAX cameras. This camera is crazy. The Eterna 55 uses a medium format sensor, which means you can use the full 4:3 image from it in 4K to get images like this. But of course, the best part is you can do 1.43 four-three IMAX expanded ratio, and it looks gorgeous. I am just so excited that filmmakers, creators, and cinematographers have access to tech like this. The gap between what you can do in your office now and even what Christopher Nolan’s doing with an IMAX camera keeps getting smaller and smaller, and I don’t think we should be gatekeeping stuff like this. I want this tech for the masses. How cool would it be if we did like a short film festival shot on the Eterna 55 and then actually had one night where we played it in a real IMAX theater? I’m gonna keep playing with this camera, but if you have any questions about the Eterna fifty-five or filming for IMAX, please let me know. But otherwise, I think this image speaks for itself.

@fujifilmproduction @fujifilmx_ca @fujifilmx_us
@imax

Lenses: @venuslaowa @dzofilm

#movies #imax #filmmaking