6 July 2015Rounding off a record-breaking week for South African athletics, Henrico Bruintjies set a new national mark in the men’s 100m in Switzerland yesterday.Bruintjies shaved 0.01 seconds off the previous South African record of 9.98 held by Simon Magakwe. He won his heat at the Resisprint International meeting clocking 9.97 to become only the third South African to break through the 10-second barrier in the 100m sprint.Bruintjies’ coach, Hennie Kriel, said he believed it was only a matter of time before his star athlete broke through the 10-seconds barrier. “He was very excited and I asked him if it was official and he immediately replied ‘yes, yes,’” Kriel said.“I knew a good time was on the cards, the race was at 1 000m above sea level but he is now running good times in European conditions.”This feat follows the 9.99 time Akani Simbine posted at a European Permit meeting in Slovenia on 1 July.Bruintjies was disappointed after finishing behind Simbine in that race, clocking 10.15. “He was not happy with his own race and the last two or three weeks he’s been saying that he was ready to go below 10 seconds,” Kriel said.On Saturday night, 4 July, Wayde Van Niekerk became the first African to dip below 44 seconds in the men’s 400m at the IAAF Diamond League meeting in Paris. Van Niekerk beat Grenadian Olympic champion Kirani James in a new South African and African record time of 43.96.James had to be content with second place, clocking 44.17, with David Verburg of the United States bagging bronze in 44.81.Source: News24Wire
Keeping it mostly foam-freeWe’ve tried very hard to keep foam out of the wall assembly and the overall structure itself (based on environmental concerns). However, one place where it did find its way in was the insulated headers above the windows and doors (see Image #7 below).Once the perimeter walls were up, I went around with an impact driver and decking screws to tighten the connection between the Zip and the framing members, especially at the top of the walls. Although the Liquid Nails adhesive helps a lot, it still makes for an imperfect connection between the sheathing and the framing members. This should make sealing these areas easier, and the connection more durable.Having seen construction adhesive and nails in action, I would recommend a glue-and-screw approach if you’re trying to fully maximize the tightness of the connection between the sheathing and the framing. Because our lot is sloped, the plans called for a series of kneewalls. When I saw the first piece of Zip sheathing about to be installed, I realized the bottom edge, which is exposed OSB, would be sitting directly on top of the Roxul insulation on the outside of the foundation. While it’s unlikely that water will find its way to this edge (the flashing for the wall assembly will be installed over the exterior face of the sheathing at the bottom of the wall), it seemed like a good idea to tape this edge with Tescon Vana for added protection and peace of mind (even if it only protects this exposed edge until the rest of the wall assembly is installed).For the kneewalls, we protected all of the exposed seams in the framing lumber with Contega HF sealant before also applying the Tescon Vana tape, all of which was done prior to the Zip sheathing being installed. The sealant takes about 48 hours to cure enough before you can effectively cover it with the Pro Clima tapes (something to consider when setting up scheduling goals).For the bottom edge (the exposed edge) of the Zip sheathing, I cut the Tescon Vana tape like I was wrapping a present (see Image #2 below). Once the Zip sheathing was installed on the kneewalls, I could move into the basement and seal up the connections between the Zip and the framing members, in addition to hitting any seams in the framing itself (see Image #3 below). The walls go upOur wall assembly is almost entirely based on Hammer and Hand’s Madrona Passive House project, which I discussed in an earlier post.In preparation for construction, I built a mock wall assembly in order to make it easy to explain to anyone on site how the various components should go together. It also gave me a chance to practice using the Contega HF sealant, along with the various Pro Clima tapes from 475 High Performance Building Supply.We were careful to lay down a consistent and continuous bead of construction adhesive (trying to avoid a bead that runs back and forth between fat and thin) before the Zip sheathing was installed over the studs (see Image #4 below). We were fighting the rain, ice, and mud, but I was able to get the Tescon Vana tape over some of the seams in the Zip sheathing before the walls went up.Sample wall sections were a quick way of explaining important details.Sammy and Billy helped me apply the Contega HF sealant to each nail hole, and then make it lie flat with a swipe of the spatula, so the Tescon Vana tape that will be applied later will also lie flat (see Image #5 below). The final step before the walls were raised was to staple the B75 gasket to the bottom of each sill plate. Then the walls could be plumbed (see Image #6 below).There was only one section of wall where the B75 gasket rolled up on itself. No doubt this occurred because this was the most difficult section to get into place because of the stair opening. Otherwise, the guys had no issues with the gasket.On the wall where the gasket did roll up on itself, I will cut off the excess that ended up on the interior side before sealing the connection with the subflooring, and then spend some time filling the void on the exterior side with backer rod and sealant as well.Zach is the only dedicated, full-time framing carpenter on the crew. (The other guys do a variety of carpentry-related work.) He has a production background, and it shows with the energy and ease with which he works. He clearly enjoys what he does for a living. Sammy and Billy may not realize it yet, but they’re learning a lot from him (even if he does razz them all day long). Once the house gets closed in, I will go back and tape the connection between the top of the foundation and the mudsill for one last layer of protection against air infiltration. RELATED ARTICLES BLOGS BY ERIC WHETZEL Let the Framing BeginDetails for an Insulated FoundationThe Cedar Siding Is Here — Let’s Burn It An Introduction to a New Passive House Project Adding the subfloorWe decided to use Huber’s Advantech subflooring after years of reading about it in Fine Homebuilding magazine, and based on the online comments from installers who see the added benefits that come with what is an admittedly higher price point. For instance, it’s more resistant to moisture, so it should result in more stable, flatter flooring (whether hardwood or tile) when the house is complete, in addition to preventing annoying floor squeaks.In order to maintain a high level of indoor air quality (IAQ), we’ve been seeking out low- or no-VOC products. So, in addition to the Advantech subflooring, which is formaldehyde-free, we chose the Liquid Nails brand of subfloor adhesive (LN-902/LNP-902) because it is Greenguard-certified. Another great resource for anyone trying to build or maintain a “clean” structure is The Red Listavailable at the International Living Future Institute’s website.One thing to keep in mind: Liquid Nails subfloor adhesive takes much longer to dry when it’s cold and wet outside — at least two to three days in our experience (sometimes even longer). Creating High-Performance WallsHigh-Performance Walls, Part 2High-Performance Walls, Part 3High-Performance Walls, Part 4Six Proven Ways to Build Energy-Smart WallsBlue Heron EcoHaus: Adding Walls and RoofDesigning Superinsulated WallsThe Klingenberg Wall Editor’s note: This post is one of a series by Eric Whetzel about the design and construction of his house in Palatine, Illinois, a suburb of Chicago. The first blog in his series was called An Introduction to a New Passive House Project; a list of Eric’s previous posts appears below. For more details, see Eric’s blog, Kimchi & Kraut.
The PostImage: Janusz Kaminski on set via Niko Tavernise / Twentieth Century Fox.Oscar Nominations: 2 — Best Picture, Best ActressDirector: Steven SpielbergDirector of Photography: Janusz KaminskiCamera: Panavision Panaflex Millennium XL2Lenses: Panavision Primo, PVintage, PCZ LensesRecording Format: 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219)With now over 20 projects between Steven Spielberg and cinematographer Janusz Kaminski, the DP shared with Deadline that he “wanted to make it feel like someone else shot [The Post]”:The first thoughts were, ‘Man, we’re spending a lot of time inside. People are talking and talking. How do we make this more visual?’ It was very clear that theWashington Post floor had to be more vibrant, not just because it makes a better movie, but because the reality of that the floor was that there was a constant exchange of information, constant phone calls.As filmmakers, we had to reflect that energy in the way we photographed the movie, knowing that the camera was going to move a lot. I had to create an environment where the actors were not inhibited by the lighting equipment within the frame, so they could go wherever they wanted and the camera would follow them.There was no compromise in my lighting; I just had to accommodate that particular need. So the choice was very clear: I’m going to put our own fluorescents into the set, and light from the top. Anytime I had a chance, I hid a little bit of lights so I could introduce more direct light onto the face, because top light tends to create a deeper shadow, and that’s often not right for the story. When you’re not able to see the character’s eyes, it feels like they’re hiding something. All the characters in the movie are very transparent, particularly the journalists. You want to see their eyes.Image: The Post set via Amblin Entertainment / Kobal / Shutterstock.Regarding his choice of gear:In America, we always shoot using Panavision equipment — it’s the best equipment there is. Because it was a slightly period movie and I didn’t want the images to be overly sharp and crispy, I used an older set of Zeiss lenses, with different color and light reproduction. I used 200 SA Kodak for all my Washington Post interiors, and for the rest of the movie, I used 500 SA Kodak, which has a little more grain.We used finer-grain film at the Washington Post office to make it feel more crispy and more immediate. The rest of the film, I didn’t mind a little grain. It was a very familiar environment — traditional equipment, traditional lights. It was an old-school movie set.Read the entire interview over at Deadline. For more on the relationship between Spielberg and Kaminkski, I suggest checking out 8 Cinematographers Behind Famous Directors and HBO’s New Documentary “Spielberg” Is a Must-See for Aspiring Directors.The 2018 Academy Awards will be presented on March 4th. Congratulations to all the Oscar nominees! Image: Set of Blade Runner 2049 via ARRI.We previously took a hard look at Roger Deakins‘s work on Blade Runner 2049. Our friends at ARRI provided some stellar set photos and gave us insight into the lighting rigs set up by gaffer Bill O’Leary.Roger achieved most of the look in-camera. For the lighting, we used soft sources and lots of gels on the lampheads to create the different color atmospheres. We went through almost 1,400 rolls of gel by the time we had finished shooting!Image: Set of Blade Runner 2049 via ARRI.The lighting rigs on Blade Runner 2049 were absolutely massive. One of the main set pieces featured a light ring with 256 ARRI 300-watt fresnels, and another used 100 SkyPanels.I always wanted to light the two scenes on that set quite differently. The first lighting design was something I had thought out well before the idea of the pool was finally locked in. This was based on the idea of sunlight coming through skylights in the roof and was similar in a way to the initial wide shot that introduces the Records Library. Of course, the addition of the element of water helped me create a second, quite-different look for that ‘interrogation’ scene. But the caustics were just a background to the actual character lighting, which was also something I had been thinking about for some time. It seemed a natural extension of the theme of moving light. —Roger DeakinsYou can read the whole Blade Runner 2049 cinematography piece here. The film’s sound design and VFX were also well received. I’d also suggest checking out The Secrets Behind the Sound Design of Blade Runner 2049. Several VFX houses worked on Blade Runner 2049, including Atomic Fiction, whose office we visited in a previous interview and tour.DunkirkImage: Dunkirk set via Warner Bros.Oscar Nominations: 8 — Best Motion Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Production DesignDirector: Christopher NolanDirector of Photography: Hoyte Van HoytemaCamera: IMAX MKIV, IMAX MSM 9802, Panavision 65 HR, Panavision Panaflex System 65 StudioLenses: Panavision Sphero 65 (50mm wide angle, 80mm for close-ups), Hasselblad Lenses Recording Format: 65mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219)Image: Set of Dunkirk via Thibault Vandermersch/EPA/Shutterstock.In an interview with British Cinematographer, Van Hoytema shared the following:Chris is a champion of film, so Dunkirk was always going to be a film project . . . To be honest, I am very much with Chris that there is not yet any medium that reaches the depth and quality of film. So if you want to tell a story in a visual way — as a dramatic, close-up, immersive experience of what is in front of you on-set — film is still the No.1 choice.On shooting handheld with an IMAX camera:From an aesthetic point-of-view I thought it was an inspired choice. Our ambition was to be in the action all of the time, to portray feelings and evoke the emotions of the people caught up in those dramatic episodes, in a documentary style. There was some crane work — with the camera mounted on a stabilised Edge Head, provided by Performance Filmworks — but it’s very sparse, that style of cinematography can take out of the immediacy of the moment.From a practical point-of-view, the IMAX and the 65mm cameras are big — like a hotel mini-bar — and the 65mm camera is heavier than the IMAX. But the lengths of the filmstocks in the magazines are fairly short — two-minutes for the IMAX, and around eight minutes for the 65mm — and I knew I would only have to shoulder the cameras for short periods of time.Image: Christopher Nolan and Hoyte Van Hoytema via M.S.Gordon/Warner Bros/Kobal/Shutterstock.On the camera and lens package,Large format is not an off-the-shelf affair, especially the lenses, and we worked with Panavision L.A. for a good six weeks to assemble our shooting package. Although Dunkirk was essentially a one-camera shoot, we always had four IMAX cameras ready to go – on-set, hard-mounted to the fighters or on our camera ship — and Chris and I were constantly in motion, leapfrogging between the cameras. We shot the 65mm footage using the 65mm Panaflex System 65 Studio Camera — 65SPFX — which is blimped and is great for shooting sound.As for the lenses, because of our need for clarity, we shot Dunkirk completely spherical. Optically it is so much more pure than Anamorphic, with much less glass and light refraction between the subject and the emulsion. We had two pairs of lenses for the IMAX cameras — a 50mm wide-angle and an 80mm for close-ups.You can read the entire British Cinematographer piece here. Hoyte van Hoytema also sat down with Deadline to talk about Dunkirk, and I suggest giving that podcast a listen.For more on the making of Dunkirk, check out The Power of Sound: Using the Shepard Tone In Filmmaking to dive into the film’s sound design. If you’re interested in recreating the title sequence from Dunkirk, you can also check out our video tutorial here: Create Transparent Titles Inspired by Dunkirk in Premiere Pro and FCPX.MudboundImage: Dee Rees on set of Mudbound via Steve Dietl/Netflix/Kobal/REX/Shutterstock.Oscar Nominations: 4 — Best Cinematography, Best Supporting Actress, Best Adapted Screenplay, Best Original SongDirector: Dee ReesDirector of Photography: Rachel MorrisonCamera: ARRI Alexa MiniLenses: Panavision C and D Series Anamorphics, Vintage Super SpeedsRecording Format: ARRIRAW 3.4KImage: Rachel Morrison shooting Mudbound via Steve Dietl/Netflix/Kobal/REX/Shutterstock.In an interview with IndieWire, Morrison spoke about her work on the film,Both Dee and I set out to shoot Mudbound on film. Everything about this project screamed to be analog. But our budget was so tight that any added cost came at the expense of something else — shooting days, extras, production design assets, etc. We did extensive tests to determine if it was worth it. We tested both anamorphic and spherical 16mm on the Arri 416 (which to this day is still my favorite camera ever designed) as well as anamorphic and spherical lenses on 35mm vs the ARRI Alexa shooting ARRI Raw. We were working with Fotokem locally in New Orleans, and I asked our dailies colorist Illya Laney to add a grain emulation curve to the digital media, match the shots to each other, and then reduce saturation and contrast by about 15-20%.It’s always a challenge to shoot a period film and not have it look like you hit the tea stain button in post. We wanted to create a world that was true to the time, but felt raw and real and not overstylized in a way that the audience can sense the theatricality.Image: Dee Rees on set of Mudbound via Steve Dietl/Netflix/Kobal/REX/Shutterstock.We chose older lenses, a mix of Panavision C and D Series anamorphics as well as Vintage Super Speeds from the ’60s and ’70s that had inherently reduced contrast and many optical aberrations. We decided to embrace the aspherical softening around the edges because we felt that even on a subconscious level, this would help the imagery feel more like the FSA photography of the era.We wanted the lighting to be naturalistic, largely motivated by sun and moon once the McCallan family have left the creature comforts of the city and settled into rural life. As much as I would have loved to shoot everything at magic hour, this film is about the sun beating down and what that does to one’s spirits — and so we embraced harsh lighting conditions when that was called for, but also contrasted the beauty of magic hour and dusk over the fields to illustrate that the endless battle for something greater is fueled by moments of hope and inspiration.We’ve been huge fans of Rachel Morrison’s work, and she also just shot the massive blockbuster Black Panther. You can check out our exclusive interview with production designer Hannah Beachler on creating Wakanda and the amazing sets for the film.The Shape of WaterImage: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock.Oscar Nominations: 13 — Best Picture, Best Director, Best Cinematography, Best Film Editing, Best Original Score, Best Sound Editing, Best Sound Mixing, Best Screenplay, Best Costume Design, Best Production Design, Best Actress, Best Supporting Actor, Best Supporting ActressDirector: Guillermo del ToroDirector of Photography: Dan Laustsen Camera: ARRI Alexa XT Plus, ARRI Alexa MiniLenses: Fujinon Alura Lens, Zeiss Master Prime LensesRecording Format: ARRIRAW 3.4KImage: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock.In an interview with British Cinematographer, Lausten talked about his rekindled relationship with Guillermo del Toro and how he shot The Shape of Water:‘We shot 3.2K open gate,’ notes Laustsen. ‘The bathroom is shot wet for wet so we used an ALEXA Mini.’ Elisa and the creature falling into the river was shot dry for wet with a lot of smoke, cranes, wires and projectors for caustic lighting. ‘I like Master Primes because you know what you’re getting. We went for wide angles and shot a lot with 25mm and 27mm. We were afraid of the female actors getting too sharp so I shot with a diffusion filter inside of the camera to break up the highlights.’In terms of the film’s colors, Luasten told Filmmaker Magazine thatThat steel blue color we used for The Shape of Water goes all the way back to something we used on Mimic. When I have those steel blue and green colors, I’m always at 3200° Kelvin on the lights and 3200° Kelvin on the camera as well. Then I’ll use gel on the lights to get the exact color I want. Guillermo and I like to shoot at a 1-to-1 ratio, meaning that our dailies look more or less like the final movie is going to look. In the Digital Intermediate (DI) we’ll use some power windows for adjustments, but the overall color is very close to what we shot.Image: Guillermo del Toro on set via S Giraud/20th Century Fox/Kobal/Shutterstock.In terms of his limited budget versus setups similar to Blade Runner 2049:This was a pretty small movie — it’s a $19.5 million budget — so I had to be clever about our budget for lighting and camera. We couldn’t afford to have a bunch of ARRI SkyPanels on set. When you have to move so fast, I think it’s easier to control the light the old-fashioned way — use 3200° Kelvin lights and then put the gels on for the color. It’s a little bit backwards, but it worked for me on this movie.The film was almost entirely single-camera with ARRI/Zeiss Master Primes:I’d say 98 percent single camera. Everything is shot on either a Steadicam, a dolly on dance floor with a jib arm and a hot-head, or on a Technocrane.I just think Master Primes are the best lenses you can buy in the world right now. Guillermo and I want to have 100 percent control over the image, and Master Primes are really good for that. We try to not do anything by accident. We don’t like to work with lenses that are giving us something we didn’t know was coming, like an unexpected lens flare.You can read more of the British Cinematographer interview here and the Filmmaker Magazine interview here. For more on Guillermo del Toro, you may enjoy reading Los Directores: Mexico’s Famous Filmmakers.Darkest HourImage: Darkest Hour set via Jack English/Working Title/Kobal/Shutterstock.Oscar Nominations: 6 — Best Picture, Best Cinematography, Best Production Design, Best Costume Design, Best Makeup, Best ActorDirector: Joe WrightDirector of Photography: Bruno DelbonnelCamera: ARRI Alexa SXT Plus, ARRI Alexa MiniLenses: Cooke S4, Angenieux Optimo LensesRecording Format: ARRIRAW 3.4KOn researching the look for the Darkest Hour, Bruno Delbonnel shared the following with Deadline:The thing is, especially for those kind of periods, what you get is basically black-and-white photography, so you can only guess what the color would be. That’s always the problem with a period piece. It doesn’t mean anything, basically. In 1940, the light was exactly the same as it is [now]. So for me, it’s more about discussing with the production designer and finding the right thing from the ‘40s.Image: Darkest Hour set via Shutterstock. On the camera package:At the very beginning, we wanted to shoot with an Alexa 65 with medium format lenses, but you need so much light just to get enough depth of field that I convinced Joe that we should go with the regular Alexa, with Cooke lenses. Because then, I could work with not such a big amount of light. I like a very big depth of field, and I think the depth of field was interesting. In order to get enough depth of field, I couldn’t shoot with the 65.You can read the entire interview at Deadline.Get OutImage: Get Out set via Justin Lubin / Universal Pictures.Oscar Nominations: 4 — Best Picture, Best Director, Best Screenplay, Best ActorDirector: Jordan PeeleDirector of Photography: Toby OliverCamera: ARRI Alexa MiniLenses: Angenieux Optimo LensesRecording Format: ARRIRAW 3.4KIn an interview with Filmmaker Magazine, Toby Oliver talked about location scouting for Get Out:I do use Artemis every day when I’m location scouting, and I use it often on set in lieu of a traditional director’s viewfinder, but I didn’t use it for those photoboards because the quality of Artemis’s [photos] is a bit blurry and cruddy when you try to blow them up and print them. So I just used my 7D stills camera. That was a very valuable process for Jordan and I and also the producers, who were there acting out the parts of the characters when we shot the photoboards.Image: Jordan Peele on set via Justin Lubin/Universal Pictures.On shooting in real houses in Alabama:The Sunken Place was the only time we shot on a stage. Well, it wasn’t really a stage. It was a civic center that we treated like a stage. The rest of the movie was shot entirely on location in real houses and real buildings in Mobile. Finding the right house was difficult. Jordan had in mind a specific kind of estate. It couldn’t look too much like it was in the south because the movie is set somewhere on the east coast. Eventually we found a place that was the right balance between being big but not too ostentatious.In regards to choosing the ARRI Alexa Mini:I love the Alexa Mini. It gives you the same image quality as the regular Alexa, but in a smaller package. It’s about half the size and half the weight of the regular Alexa even with all the accessories and things you have to pile onto it. It’s great for working on location if you need to squeeze the camera into a corner. A couple of inches here or there can actually be quite handy. I’ve shot with Alexa Minis on my last three movies. And for Get Out, we shot ProRes 4444 at 3.2K. Because we’re finishing the movie at standard cinema 2K, 3.2K gives you just a little extra room to resize, which is useful in post.You can read the entire interview at Filmmaker Magazine. I also suggest giving a listen to Toby Oliver’s interview on the Go Creative Show, where he talks about blending horror and comedy, shooting with zoom lenses, and the challenges of a limited budget. There is also a wonderful piece on making Get Out over on Vulture that is definitely worth a read.Phantom ThreadImage: Paul Thomas Anderson on set via L Sparham/Focus Features/Kobal/Shutterstock.Oscar Nominations: 6 — Best Picture, Best Director, Best Costumes, Best Original Song, Best Actor, Best Supporting ActressDirector: Paul Thomas AndersonDirector of Photography: Paul Thomas Anderson (uncredited)Camera: Panavision Panaflex Millennium XL2Lenses: Panavision Ultra Speed Z-Series MKII LensesRecording Format: 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)There is no credited cinematographer for Phantom Thread, making it ineligible for an Academy Award for Best Cinematography. This has to do with Paul Thomas Anderson’s collaborative cinematography workflow. On the subject, he told Entertainment Weekly the following;I should really clarify that. That would be disingenuous and just plain wrong to say that I was the director of photography on the film. The situation was that I work with a group of guys on the last few films and smaller side projects. Basically, in England, we were able to sort of work without an official director of photography. The people I would normally work with were unavailable, and it just became a situation where we collaborated — really in the best sense of the word — as a team. I know how to point the camera in a good direction, and I know a few things. But I’m not a director of photography.If you can give credit, Michael Bauman is the gaffer that I’ve worked with for many, many years on a lot of projects. I could veto Mike, I guess, but he held a lot of the keys. There was a camera operator, Colin Anderson, I’ve worked with, and Erik Brown, who was the first assistant cameraman and Jeff Kunkel, who was a grip. It was a real package like that. It was a really easy way of working. You have to be very, very careful because there are way too many good cinematographers that I would not put myself in that class for a second.You can head over to EW to read the entire interview with the director.Lady BirdImage: Sam Levy and Greta Gerwig via Merie Wallace/A24.Oscar Nominations: 5 – Best Picture, Best Director, Best Screenplay, Best Actress, Best Supporting ActressDirector: Greta GerwigDirector of Photography: Sam LevyCamera: ARRI Alexa MiniLenses: PanavisionRecording Format: ARRIRAW 2KIn terms of the overall look of Lady Bird, Sam Levy revealed to IndieWire thatOne way we got at this aesthetic of memory was we were looking at a lot of photos by the French photographer Lise Sarfati, who has all these great portraits of young women from around the 2000s. The photos aren’t at all creepy, it shows they were taken by woman, they are so at ease the way our young cast was with Greta. Through Sarfati’s photos we kept coming back to this idea of ‘plain and luscious,’ that’s what Lady Bird should look like, it shouldn’t be dripping with the visuals.As for the camera package:We shot with the Alexa Mini with old Panavision lenses and, in testing different resolutions, we ended up shooting 2k — ARRI raw 3.6K was too vivid and too sharp. Alexa has native grain, sort of video noise, any sensor emits video noise. Alex brought up, How do we tease out the Alexa video grain? Instead of adding artificial film grain, but embracing the technology we are using, but in more of a handmade way, not unlike how you’d create this multiple photocopies.You can read the entire interview with Sam Levy and Greta Gerwig at IndieWire.Fun fact: the image of Sam Levy and Greta Gerwig above shows Gerwig wearing a name tag that reads, “Greta, Breakfast at Tiffanys.” This was part of a game on set, where each day the crew would wear name tags and write answers to a daily question. Now as to why Breakfast at Tiffany’s? Gerwig reluctantly revealed that this question of the day was their thoughts on the most overrated film classic.Call Me By Your NameImage: Luca Guadagnino on set via Frenesy Film Co / Sony / Kobal / Shutterstock.Oscar Nominations: 4 — Best Picture, Best Adapted Screenplay, Best Original Song, Best ActorDirector: Luca GuadagninoDirector of Photography: Sayombhu MukdeepromCamera: Arricam LTLenses: Cooke 35mm S4 LensRecording Format: 35mm (Kodak Vision3 500T 5219)Shot entirely on one lens, Call Me By Your Name was a challenge for cinematographer Sayombhu Mukdeeprom. In an interview with Deadline, he talked about the challenge,The producer asked me, ‘Should there be some other, wider lens? Just in case?’ I said ‘No, no. I want to tie my hand to this approach, because this is how I work . . . I think if you limit yourself to something, you struggle inside your idea.’In terms of lighting:At the beginning, I was thinking about shooting with all natural light, but the weather conditions did not permit me to do that. At that time, there was historic weather in Italy — it was too hot. I had to adapt my technical approach to that, so I had to order a package of lights. I ended up with 15Ks, down to 2.5. With the lighting approach, I observed the director and the actors. It seems like we should have the idea of what we’re going to do, but it’s not so fixed like that. It always has flexibility. So with observation, I follow them. I adapt to everything that happens in front of the camera.Image: Call Me By Your Name set via Frenesy Film Co / Sony / Kobal / Shutterstock.Talking to IndieWire about the torrential rain in Italy during production, Mukdeeprom revealed thatWe had scheduled 30 days of shooting — five weeks, six day weeks — and we ended up shooting 34, of which 28 there were heavy rains . . . We were freaking out, and we’re reconstructing the light every day.I said to the producer, ‘This is bananas,’ I kept saying ‘You have to be kidding, this is not why I came to Italy. But it became my war.’There are times you don’t have the space or time for a large light, or set up . . . I have learned if I get the contrast right, what colors I can and cannot pull from the image in post. I don’t like working this way, ‘fixing it in post,’ but I’ve learned shooting in Thailand what colors must be present on set when we shoot and which I can find later on.You can read more about the cinematography in these interviews at Deadline and IndieWire.Three Billboards Outside Ebbing, MissouriImage: On set of Three Billboards via M Morton / 20th Century Fox / Kobal / Shutterstock.Oscar Nominations: 7 — Best Picture, Best Film Editing, Best Original Screenplay, Best Original Score, Best Actress, Best Supporting Actor (2)Director: Martin McDonaghDirector of Photography: Ben DavisCamera: Arri Alexa XT PlusLenses: Panavision E-Series and C-Series Anamorphic LensesRecording Format: ARRIRAWTalking with British Cinematographer, Ben Davis spoke about his crew,‘I had a lot of the same crew from Seven Psychopaths,’ states Davis. ‘My AC was William Coe who I adore and is great, Stephen Campanelli was the operator and Ross Dunkerley was the gaffer.’ Panavision supplied two ALEXA XT cameras along with E and C series anamorphic lenses, which have imperfections that help to break down the digital image. One truck of lights was utilized that consisted of a lot of LEDs, 4×4 Cine panels to create moonlight, and a single generator. ‘What you learn as you go on as a DP is to use fewer lights and to put them in the right place.’‘We never did a huge amount of takes,’ states Davis who shot the crime comedy drama in the 2.35:1 aspect ratio. ‘The coverage was what was necessary. For me, the cinematography was purely about delivering the script. When the words are so good there’s a temptation to shoot your actors in the close-ups. We made sure not to do that.’You can read the entire interview at British Cinematographer. I also suggest watching this great behind-the-scenes video of a oner captured from the streets. Dive into the cameras and gear used to capture all of the 2018 Academy Award nominees for Best Picture and Best Cinematography.Top image: Set of The Shape of Water via K Hayes/20th Century Fox/Kobal/REX/Shutterstock.Leading up to the Academy Awards, I always love diving into the production stills and going deep into the tech specs for many of the Oscar nominees. That includes finding out the gear these filmmakers and cinematographers used.Obviously, ARRI continues to lead the pack as the standard cinema camera package — and ARRI just celebrated it’s 100th anniversary. Let’s dive into the cameras and lenses behind 2018’s Oscar-nominated films and see what made the list. (You can find previous nominees here: 2017, 2016.)Blade Runner 2049Image: Blade Runner 2049 set via Sony Pictures. Oscar Nominations: 5 — Best Cinematography, Best Visual Effects, Best Sound Editing, Best Sound Mixing, Best Production Design.Director: Denis VilleneuveDirector of Photography: Roger DeakinsCamera: ARRI Alexa Mini, ARRI Alexa XT StudioLenses: Zeiss Master Prime LensesRecording Format: ARRIRAW 3.4K
Madhur Bhandarkar’s Heroine will be featured on Friday at 9:30 pm. The main cast of the film includes Kareena Kapoor, Arjun Rampal and Randeep Hooda. The movie is based on the life and times of a superstar heroine from the dream factory we call ‘Bollywood’. The film is an entertaining, daring, glamorous and scandalous which provides behind the scenes account of the reality of the world of glitz and glamour that our film stars inhabit.The movies which will be featured this week include a bioscope serialised feature film: Also Read – ‘Playing Jojo was emotionally exhausting’Arth which will be shown on Tuesday and Wednesday at 11 pm starring Shabana Azmi, Kulbhushan Kharbanda and Smita Patil, Heroine starring Kareena Kappor on Friday at 9:30 pm, Ekk Deewaana Tha starring Prateik Babbar and Amy Jackson on Saturday at 10 pm, Amanush starring Uttam Kumar, Utpal Dutt on Sunday at 12:30 pm, Road to Sangam also on Sunday 3 pm starring Paresh Rawal and Om Puri and a Punjabi film called Nabar at 10 pm starring Nishawn Bhullar, Rana Ranbir and Hardeep Gill.