VISION3 200T Color Negative Film 5213/7213

U2’s Every Breaking Wave Rides the 35mm 2-perf Trend

Published on website: May 12, 2015
Categories: Focus On Film , VISION3 200T Color Negative Film 5213/7213
Scene from “Every Breaking Wave” (credit: Steven Annis)

“I’m a believer in organic filmmaking,” he says. “I like to give my interpretation in the moment. If you’re surrounded by good production design, and you have a good director, cast, grader and editor, everything just seems to happen. It's a perfect balance between just enough planning and the director letting his/her actors go, and then you being there to capture organically."

Annis is an in-demand cinematographer who specializes in unique imagery for music videos and commercials. His recent credits include clips for Florence and the Machine, KWABS, Bryan Ferry and Gary Clarke Jr. and commercials for Powerade, UNIQLO, Sony and Adidas.

Ben Richardson Finds Freedom with Film on Digging for Fire

Scene from "Digging for Fire". Photo by Ben Richardson/Courtesy of The Orchard.

Joe Swanberg and Ben Richardson have made three movies together – Drinking Buddies, Happy Christmas, and now Digging for Fire. The film is a dramedy, co-written with Jake Johnson who also stars in it, about a man in a mid-wife crisis and a woman trying to figure out where mother/wife ends and she begins.

“We've got a good shorthand going at this point,” Richardson said, “which makes us pretty efficient with shot design. So, this time we decided to go all the way and shoot 35mm with the camera on the dolly.”

Cinderella: A Disney Classic Brought to Life

Kenneth Branagh, Haris Zambarloukos, BSC and Lily James on the set of Disney’s live-action feature inspired by the classic fairy tale, Cinderella. (Photos by Jonathan Olley, ©Disney Enterprises, Inc. All Rights Reserved.)

Together, Haris Zambarloukos, BSC and Kenneth Branagh have made the otherworldly Marvel pic Thor, the stylish Michael Caine vehicle Sleuth, and the spy thriller Jack Ryan: Shadow Recruit. Each of those projects also was made on 35mm film. Their latest collaboration, a live-action update of Disney’s Cinderella, adds yet another completely different project to their body of work.

When he got the call, Zambarloukos was initially hesitant. “When I read the script, I began to realize what a great opportunity it was,” he says. “It’s an ancient, timeless story with versions in many cultures. Within Disney’s version of the tale is a tragic orphan story that is almost Dickensian. And after our first meeting, I realized why Ken wanted to do it – it’s a chance to make a classic, the first of its kind, in a new way. It’s a big responsibility.”

Kaminski Chooses Kodak for The Judge

Robert Downey Jr. and Robert Duvall in "The Judge" a Warner Bros. Pictures release. Photo by Claire Folger. Copyright: © 2013 WARNER BROS. ENTERTAINMENT INC. ALL RIGHTS RESERVED

Janusz Kaminski is a two-time OSCAR® winner who is best known for his many collaborations with Steven Spielberg, including Schindler’s List, Saving Private Ryan, Minority Report, Catch Me If You Can, Munich, War Horse and Lincoln. Kaminski’s credits also include such memorable films as The Diving Bell and the Butterfly, Jerry Maguire and How Do You Know.

When Kaminski chooses a project to shoot outside of his collaboration with Spielberg, he is selective. Recently, he brought his keen eye and gift for visual storytelling to The Judge, a feature film for director David Dobkin. The film opened the 2014 Toronto International Film Festival.

Creating an Edgy, Anti-Comedy Look for Tammy

Susan Sarandon and Melissa McCarthy in a scene from Tammy (Photo by Michael Tackett.)

When a sample film clip on screen drew a collective, audible gasp in the screening room, director of photography Russ Alsobrook, ASC knew he would be shooting the comedy Tammy on KODAK Film. The cinematographer and the film’s principals had been at Burbank-based lab/post house FotoKem during preproduction doing digital versus film origination comparisons.

“It’s like we’ve forgotten how great film looks when you see it in comparison,” Alsobrook remarks. “We looked at each other, and it was a done deal. There was no question we were going to shoot fi lm. It has a rich, creamy look to it that you just can’t get any other way.”

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