VISION3 200T Color Negative Film 5213/7213

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.

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.

The Fishtail Basin Ranch Gets Its Story Told on Film

Fishtail camera set up by Joe Anderson

On an expansive rural ranch, director Andrew Renzi stood before the majestic Montana landscape to capture a serene study of the cycle of life for the documentary Fishtail. Rancher Tylee Abbott runs a full head of cattle here. Abbott is also a Western American art dealer. It's in his blood — he is kin to painter William Tylee Ranney, whose brush strokes immortalized old trappers, wide prairies and landscapes.

“I have a lot of love and appreciation for that way of life,” says Renzi, who in his youth worked on Abbott's ranch during summers. “Tylee and I came together with this idea of doing a contemporary re-appropriation of traditional Western American art into the film medium. I wanted to make a documentary that was observational and sort of ethereal through exploring subject matter, like the birthing of cows, to give us a sense of life cycle rather than have it be strictly procedural about what people do on a ranch. It is something we hope that people can soak in and surrender to its pace.”

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