16Mm

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!

Ask a Filmmaker: David Dart, NFL Films

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David Dart, NFL Films staff cinematographer

The 2013 football season is underway, and the crew at NFL Films is busy capturing all the leaping catches, goal line stands, pre-game pep talks, and sideline celebrations. Considered the gold standard of sports filmmaking, NFL Films strives to not just document the game, but to preserve it, and carry on the legacy of all those who have helped make the game what it is today. And motion picture film is part of that legacy.

Since 1962, NFL Films has captured and archived over 100 million feet of 16mm film. Their productions were the first to use ground-level slow motion, shoot sports with 600mm lenses, and to incorporate reverse-angle replays. Can you imagine shooting the Super Bowl handheld with a 1,000-foot magazine and a 50-500mm anamorphic zoom lens? Ever wonder what it is like to capture the fast-moving, hard-hitting action of the NFL? Now is your chance to get full access with NFL Films cinematographer David Dart.

Filmmakers Win Right to Choose Super 16 for Television

Published on website: November 26, 2013
Categories: 16mm , Industry , Television , The StoryBoard Blog

A recent campaign to reinstate Super 16mm film for broadcast in Europe has resulted in victory with all major UK broadcasters agreeing to accept programs originated on the format.

“This is an exciting resolution for filmmakers, who now have complete freedom to choose the right aesthetic format for telling their stories,” notes Andrew Evenski, president and GM of Kodak’s Entertainment & Commercial Films division. “Storytellers understand the power of 16mm film, and can take full advantage of the beauty, flexibility and budget-friendly benefits that this format offers.”

Abby for Apples is Homegrown in New York State

Published on website: November 18, 2013
Categories: 16mm , Commercials , Focus On Film , VISION3 50D Color Negative Film 5203/7203
Abby Wambach stars in “Abby for Apples.”

Soccer star Abby Wambach was “homegrown in New York State, just like New York apples,” exactly what the New York Apple Association was looking for when choosing a spokesperson. Wambach, the greatest goal scorer in international soccer history, is currently leading a multi-platform campaign for the trade association that includes commercials, radio spots, print ads, and point-of-purchase displays. The 30-second television spot, “Abby for Apples,” is headlining the campaign.

The commercial features Wambach and a group of children enjoying apples and soccer in an orchard located in Upstate New York. When director Ray Manard took on the project, he knew very early on that he wanted to use film for the spot. “The shoot was all outside, so weather was obviously going to be an unpredictable factor,” explains Manard. “Based on the schedule, we knew there would definitely be some high-contrast sun situations to deal with, and film, absolutely, would be able to handle that, the way only film can.”