Developments on the camera front and insights from cinematographers relative to technology and the creative process were prevalent at the 22nd annual Cine Gear Expo at Paramount Pictures Studios in Hollywood which wrapped this weekend. And capping the proceedings was a notable donation to the Sarah Jones Film Foundation, the nonprofit formed to foster on-set safety through awareness and accountability. The Foundation was created to honor the legacy of Sarah Jones, a 27-year-old camera assistant who lost her life on Feb. 20, 2014, in an accident on the set of the film Midnight Rider.
On the tech side, Sony Electronics announced plans for its next-generation CineAlta digital motion picture camera system. Peter Crithary, marketing and production manager for media solutions and production technology at Sony, said that the new built-from-the ground-up, as yet unnamed system–which reaffirms the company’s commitment to high-end motion picture camera development–will be available in early 2018. This could entail a physical model being at IBC later this year; at least that’s a targeted timeline being considered for the first public glimpse. Crithary added that the new camera will not replace any current CineAlta camera but rather add to the Sony family of cutting-edge digital imaging technology. The next-generation Cine Alta will offer such features and key benefits as:
- A Full Frame 36x24mm sensor exclusively designed for the camera.
- Being aspect ratio-agnostic–including Full Frame, Super35 4K 4-perf 4:3 Anamorphic and 4K spherical 3-perf 17:9.
- A new image sensor enabling exceptional picture quality.
- Maintaining the workflow established with Sony’s 16bit RAW/X-OCN and XAVC.
- Compatibility with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).
This pending addition to the CineAlta family is being developed through careful research and close collaboration with creative professionals including directors, cinematographers and digital imaging technicians. Crithary said that leading industry pros have been brought into Sony Digital Motion Picture Centers in Hollywood, the U.K. (Pinewood Studios), Beijing and Mumbai to offer input and feedback which are critical to product development. Sony is also separately reaching out to directors, DPs, producers and DITs, meeting with them on their home turf or at industry get-togethers such as Cine Gear, for further dialogue that is necessary to properly shape technology to meet industry demand. Sony engineers from Japan, for example, have come to the U.S. to exchange ideas with and gain feedback from notable filmmakers, DPs and the like.
Guardians of the Galaxy Vol. 2
During a session presented by RED, Henry Braham, BSC, talked about the decision to deploy the RED Weapon 8K Vista Vision camera on director/writer James Gunn’s Guardians of the Galaxy Vol. 2. Braham explained that the camera brought together the best of both worlds–the ability to capture a big-screen IMAX experience while facilitating a shooting approach more akin to an intimate documentary.
Braham noted that more than 80 percent of Guardians was lensed with one RED Weapon, a departure from such tentpole feature fare which normally entails larger, multiple cameras. The small footprint of the RED, noted Braham, allowed him to be in close proximity to–and to move more easily with– the actors without an intimidating in-your-face presence. Capturing an epic scale high profile picture with a camera you can fit in the palm of your hand, said Braham, proved ideal for doing justice to the Guardians story, which strikes a character-driven emotional chord not typical for an action-adventure superhero movie.
In the big picture, Braham said that it’s best for choice of camera to be based on what the story and or idea requires. He observed that the cinematographer’s responsibility is to “tune into the director” and to translate the director’s vision and personality onto the screen. By contrast, it’s not a good idea for camera decisions to be technology-led–dictated by style or, said Braham, “doing something because you can.”
Camera options, particularly with the digital R&D being done, abound for DPs, said Braham, who noted, though, that lens development is way behind the camera curve.
Incidentally, Braham noted that his next feature will be shot on 35mm film because it was the right choice for the project and the director.
Braham was part of a Cine Gear/RED panel moderated by Carolyn Giardina of The Hollywood Reporter.
Dialogue with ASC cinematographers
In this panel discussion moderated by George Spiro Dibie, ASC (recipient of the ASC Television Career Achievement Award, and a five-time Emmy winner), ASC cinematographers responded to audience questions, offering reflections on their work as well as advice to aspiring, up-and-coming cinematographers.
Panelists were Bill Bennett, ASC (the first cinematographer to get into the ASC for his work in commercials), Russell Carpenter, ASC (an Oscar winner for Titanic), Dean Cundey, ASC (Apollo 13, Jurassic Park, an Oscar nominee for Who Framed Roger Rabbit?), Michael Goi, ASC (a four-time Emmy nominee–two for American Horror Story, and one each for Glee and My Name Is Earl), Nathaniel Goodman, ASC (Heroes, Falling Skies), Tom Houghton, ASC (Elementary, American Horror Story, 30 Rock, an Emmy nominee for Rescue Me), Donald M. Morgan, ASC (recipient of the ASC Television Career Achievement Award and a five-time Emmy winner), Daniel Pearl, ASC (The Texas Chainsaw Massacre, assorted notable music videos), and Lisa Wiegand, ASC (American Crime, Chicago Fire).
Asked what they would like to pass on to the next generation of cinematographers, the ASC panel offered a wide range of observations and advice. Goodman responded, “Try to figure out how to have other people think your idea is their idea.”
Morgan stressed the importance of communication, connecting with others to get ideas across and make them better. Cundey said that passion about the work and a steadfast belief in collaboration are essential to the art of cinematography. Wiegand cited the importance of a good attitude, observing that even the most talented people aren’t hireable “if they’re jerks.”
Pearl advised DPs to find a mate/spouse who understands that cinematography is a personal, consuming passion–and is still willing to nurture and take care of you. Dibie expounded upon that, advising DPs not to marry anyone who thinks you have a 9-to-5 job.
Toll told the next generation of DPs to “think of yourself as a conductor. Everyone as an instrument essential to a project.” Thus your job as DP is to work with all of them and help them form a “symphony.”
Goi said it’s prudent to learn “how to make enormous compromise” look like an intentional decision. He also cited the importance of having the courage to throw out the first idea and find something else when you have to. He added that “everything I did on American Horror Story–none of it was my first idea.”
“Don’t be crushed by defeat,” said Carpenter, explaining that setbacks and rejection are inherently part of the industry. “Don’t take it personal” and keep persisting.
Houghton stressed that the cinematographer needs to “keep the bar as high as you can.”
And Bennett affirmed that part of the next generation’s responsibility is “to defend the role of the cinematographer. Every editor thinks they can color correct…every producer thinks they can edit.” Noting that the ASC is approaching its 100th anniversary, Bennett told the audience that their role as future DPs is “to make sure there’s another 100 years, after we’re long gone.”
Canon conversation
In a session presented by Canon, cinematographers Carpenter, ASC, Polly Morgan, BSC, and Steven Poster, ASC, and president of the International Cinematographers Guild (ICG), discussed their experiences working with the Canon EOS C700.
Carpenter lensed a Canon-commissioned, Tyler Stableford-directed film, The Calling, in Sept. 2016 using a prototype C700. Carpenter praised the detail and highlights captured by the 4K camera. “Anybody can pick it up and see in dark spaces,” he said. The Calling was done in an HDR (High Dynamic Range) pass as well as an SDR (Standard Dynamic Range) pass. Seeing it on an HDR monitor is a completely different experience. An HDR screening was held recently at the ASC Clubhouse in Hollywood.
Poster, though, cautioned that “just because you can doesn’t mean you should” when it comes to HDR. “You don’t want to show everything in every shot” across all projects, he said, noting that, if needed, the Canon camera has the range to handle it [HDR] beautifully.”
Poster added that the C700 chip can create varied “looks and personalities”–and what used to be called noise becomes desirable filmic grain thanks to the camera’s capabilities.
For the Cine Gear audience, Poster screened scenes from a romantic comedy based on a Chekhov story which he lensed with the C700. He opted for 2K because he liked the 12 bit color depth, and felt it was apropos for the story.
On a separate front, Poster said he was a major fan of Canon glass, citing the company’s heritage in–and philosophy of–lens making.
Morgan too is a Canon vintage glass aficionado, choosing K35 lenses with the C700 to shoot an online campaign for the Victoria’s Secret line of exercise clothes, which was screened for the Cine Gear gathering. She described the camera as versatile, with ergonomics that are light, responsive, comfortable and easy to manage.
Morgan added that the C700 is now on Netflix’s list of cameras that cinematographers can choose from to shoot movies.
Tim Smith, sr. advisor, film and TV production, for Canon, moderated this Cine Gear session. He noted that Canon is opening up a service/training center in Burbank, Calif., next month, which will be providing info and education as to how to best use its cameras.
Sarah Jones’ legacy
Immediately after the Canon session, Poster donned his hat as ICG president, introducing a pair of Roscoe Laboratories execs–Phil Greenstreet, head of development, backdrops and imaging, and Tracey Cosgrove, sr. director of products–to the Cine Gear audience.
Roscoe announced that it is donating proceeds from sales of a product line directly to the Sarah Jones Film Foundation. Greenstreet presented the first check to Sarah’s father, Richard Jones, who recalled that horrific day when Sarah lost her life, having been put in harm’s way, hit by a train. He and wife Elizabeth formed the Foundation to make sure that this “never happens to another daughter, son, mother or father.”
The ICG has been a major supporter of the Foundation and its goals, promoting the safety and welfare of crew people. Poster thanked Roscoe for its generosity, urged the industry to keep Sarah’s memory and legacy alive, “to keep being safe on the set,” and “to think about Sarah everyday we go to work.”
