VISION3 200T Color Negative Film 5213/7213

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.”

Deshaies and Bonello Reunite for Saint Laurent

Photo by Carole Bétuel © Mandarin/Europacorp.

Saint Laurent chronicles 10 years in the life of designer Yves Saint Laurent, beginning at age 30. It sheds light on his genius, as well as on his darker side. Co-produced by EuropaCorp and Mandarin Cinéma, the film reunites cinematographer Josée Deshaies and writer-director Bertrand Bonello.

Deshaies, a native of Montreal, Canada, got her first job as a director of photography with Bonello, a French director, on Qui je suis in 1996. This led to collaborations between the two that would span more than 18 years and five critically acclaimed feature films including Something Organic, The Pornographer, On War, Tiresia, and House of Tolerance.

“Troubles” Avoided for Syfy’s Haven in Nova Scotia

A scene from Haven. (Photo: Michael Tompkins)

The Syfy series Haven, based on the Stephen King novella The Colorado Kid, takes viewers to the mythical town of Haven, Maine. There the series follows FBI agent Audrey Parker (Emily Rose), who arrives in town to follow a routine case but soon finds herself caught up in the town’s many mysteries. Audrey quickly discovers that Haven is a longtime refugee for people affected by a range of supernatural afflictions known as “Troubles,” and she herself has a surprising connection to the town.

The series, which just completed its fourth season, is shot entirely in Nova Scotia, Canada, in and around the town of Chester. When the decision was made to shoot in Nova Scotia, Executive Producer Shawn Piller (Stephen King’s Dead Zone, Greek) turned to cinematographer Eric Cayla, CSC, whom he had worked with on a previous series.

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!

Dickens’ England Brought to Life in The Invisible Woman

(l-r)Felicity Jones as Nelly Ternan and Ralph Fiennes as Charles Dickens Photo by David Appleby, Courtesy of Sony Pictures Classics

When director Ralph Fiennes decided to bring The Invisible Woman to the screen, he turned to cinematographer Rob Hardy, BSC to help him transport his audience to Victorian England. Based on Claire Tomalin's 1990 biography of the same name, The Invisible Woman is centered on the true story of Charles Dickens’ relationship with actress Nelly Ternan. Dickens (also played by Fiennes) was 45, married, and at the height of his storied career when he met 18-year-old Nelly (Felicity Jones). The film chronicles their thirteen year secret love affair, which ended with his death.

Fiennes and Hardy had not worked together before, but instantly connected with a shared vision for the film. “Ralph is wonderfully obsessed with detail and wanted the story told in the most truthful way possible,” notes Hardy. “I had never shot a piece set in the Victorian era, and was itching to do one because I wanted to find a way to visually translate what that time may have been really like without romanticizing it. Adversely, the only reference point I had going into the project was an American photographer named Saul Leiter, who photographed the streets of New York in the ‘50s and ‘60s. The colors in those photographs were incredibly vibrant but also very succinct and painterly, which is something unique to film. So I went to a meeting at Ralph’s apartment and brought a book of Leiter’s work. I handed it to him, and he immediately said, ‘come with me,’ and took me upstairs. There on his walls were five original Leiter photographs. We knew in that moment we had found the way forward.”