VISION3 250D Color Negative Film 5207/7207 (Page 2)

Epic Noah Reunites Darren Aronofsky and Matthew Libatique

Russell Crowe stars as Noah (Photo: by Niko Tavernise Courtesy of Paramount Pictures)

The Biblical story of Noah and the Ark is brought to the big screen by director Darren Aronofsky and cinematographer Matthew Libatique, ASC. The filmmaking duo previously collaborated on Pi, Requiem for a Dream, The Fountain and Black Swan.

Russell Crowe stars as Noah, the man chosen by God to undertake a momentous mission of rescue before an apocalyptic flood destroys the world. Shot on location in Iceland and New York, as well as a few other locales, Libatique shares his approach to capturing Aronofsky’s creative vision in this month’s American Cinematographer. The two chose KODAK VISION3 500T Color Negative Film 5219, 250D 5207, and KODAK VISION2 100T 5212.

Creating the Gritty Look of Low Down

Elle Fanning in Low Down. (Credit Low Down Production.)

Christopher Blauvelt is a third-generation filmmaker who still treasures his grandfather’s Graflex 4x5 still camera. His grandfather was a grip, his grandmother worked in the costume department, and his father, uncle and brother are all in the camera department. His father gave him a POLAROID camera when he was 4 years old, and he’s been shooting ever since.

In addition to his family connections, Blauvelt worked as an assistant under the tutelage of the late Harris Savides, ASC. “Harris opened up new worlds for me,” Blauvelt recalls. “He challenged everything about the way things were done. He shared his knowledge for the most obscure and amazing movies.”

Film Lends Earthiness to KFC Spot

Published on website: March 21, 2014
Categories: VISION3 250D Color Negative Film 5207/7207
Scenes from the KFC spot. (Courtesy David Procter)

Since 2008, cinematographer David Procter and London directing duo Institute for Eyes — aka Luke Seomore and Joseph Bull — have collaborated on numerous commercials and music videos, as well as several documentaries that earned plaudits including a Golden Frog nomination at the Camerimage International Festival of the Art of Cinematography in Poland.

The team’s documentary chops came in handy on their most recent assignment, a commercial for KFC, the fast food franchise. Procter calls it “a very different piece of advertising.” The goal was to lend the brand a more human, organic and earthy quality — and the cinematography of the spot was an important aspect of communicating those ideas to viewers.

Ask a Filmmaker: David Dart, NFL Films - Answers

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David Dart, NFL Films staff cinematographer

The questions are in and the answers are back! A big Thank You to NFL Films cinematographer Dave Dart for taking the time during playoffs to answer questions from our readers! You all came up with some great ones with topics including focus pulling, film stock preference, shooting style, and the romanticism of football on film.

There's a reason NFL Films has won over 100 Emmy® awards, and here's a sneak peak at how they do it!

The Why We Love Super 8mm and 16mm Wedding Cinematography

Kevin Snelson of The Why We Love

Winter is taking hold in the northern hemisphere and temperatures have dropped below freezing. With snow on the ground here in Kodak’s hometown, we figured there was no better time to share some heartwarming films from Super 8mm and 16mm wedding cinematographers The Why We Love.

Calling California home, Kevin and Danielle Snelson have been documenting weddings for years. We recently spoke with them about their craft and they shared details on their obsession with film and what motivates them to create such beautiful memories. It’s our pleasure to introduce The Why We Love!