Focus On Film (Page 2)

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.

Allen and Khondji Work Like Magic

Published on website: July 24, 2014
Categories: Focus On Film
Emma Stone as Sophie Photo by Jack English © 2014 Gravier Productions, Courtesy of Sony Pictures Classics

Set in the 1920s on the opulent Riviera in the south of France, Woody Allen’s latest film MAGIC IN THE MOONLIGHT is a romantic comedy about a master magician (played Colin Firth) who is determined to expose a psychic medium (played by Emma Stone) as a fake.

To convey the romanticism of the 1920s and a look of natural enchantment, Allen reteamed with the distinguished cinematographer Darius Khondji, ASC, AFC. The two filmmakers previously collaborated on ANYTHING ELSE, MIDNIGHT IN PARIS, and TO ROME WITH LOVE.

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.”

Cinematographer Wyatt Garfield Gives Ping Pong Summer a Nostalgic 1980s Touch

Susan Sarandon. Photo courtesy of Gravitas Ventures.

Super 16mm was always the optimal format for Ping Pong Summer, according to writer/director Michael Tully’s Sundance-premiering feature about a family vacation in the summer of 1985. He and director of photography Wyatt Garfield wanted to make sure they weren’t making fun of the ‘80s, but rather wanted it to feel like an actual movie from their childhoods.

“We were going for a sincere take on the bizarre, indulgent aspects of the 1980s,” says Garfield. “We wanted to embrace the colors of that decade, but we knew that if we shot it digitally all those colors would come through too saturated, and it would quickly become a contemporary, synthetic homage. We relied on film to contain and soften all the saturated colors and keep the palette nostalgic.”

Dion Beebe Frames Edge of Tomorrow

TOM CRUISE as Cage in Warner Bros. Pictures’ and Village Roadshow Pictures’ sci-fi thriller “EDGE OF TOMORROW,” distributed worldwide by Warner Bros. Pictures and in select territories by Village Roadshow Pictures. Photo by: David James

In Edge of Tomorrow, Tom Cruise’s character endures an experience reminiscent of Groundhog Day. He relives his dying day over and over, hoping to eventually gain the skill and smarts to break the loop and conquer his enemies. But the similarities end there. In Edge of Tomorrow, the world is a high-tech yet recognizable future where human soldiers equipped with robotic suits must fight off invading aliens.

Oscar®-winning cinematographer Dion Beebe, ASC, ACS (Chicago, Collateral, Memoirs of a Geisha, Land of the Lost, Green Lantern, Nine, Gangster Squad) had previously worked with director Doug Liman (Swingers, Mr. & Mrs. Smith, Jumpers, The Bourne Identity) on a few commercials, but never on a project of this scale. They worked toward a visual strategy through careful preproduction testing.