#Claudio Miranda ASC

[awardseasonblog]

La gara per la #Migliorfotografia potrebbe rivelarsi tra le più imprevedibili della prossima Notte degli Oscar, dato che il suo principale frontrunner, Claudio Miranda (Top Gun: Maverick), vincitore di quasi tutti i principali premi chiave, è stato a sorpresa escluso dalle nomination agli Oscar. In siffatto contesto potrebbe avere la meglio la vincitrice dell’American Society of Cinematographers Award assegnato dal sindacato dei direttori della fotografia, Mandy Walker per #Elvis. Inseguita dal vincitore del BAFTA e del British Society of Cinematographers Award #AllQuietontheWesternFront e anche da #TAR che ha dalla sua parte il Golden Frog vinto all’Energa Camerimage, il Festival cinematografico internazionale dedicato all'arte della fotografia, i cui verdetti hanno un impatto significativo nella successiva corsa agli Oscar per la miglior fotografia. Anche se questi ultimi due film sono stati esclusi dalle nomination agli ASC Awards. (LINK NELLA STORIA) NOMINATION OSCAR 2023 Best Cinematography -“All Quiet on the Western Front” -“Bardo, False Chronicle of a Handful of Truths” -“Elvis” -“Empire of Light” -“Tár” #AwardsSeason #AwardsRace #OscarsRace #RoadtotheOscar #Movies #AwardsRace #BestCinematography #Oscars2023 #OscarsPredictions #FinalPredictions #StagionedeiPremi #Oscar2023 #PrevisioniOscar https://www.instagram.com/p/CpcEz2ssLN8/?igshid=NGJjMDIxMWI=

[cryptonews256]

Maverick’, ‘The Batman’, ‘Elvis’ On List – Deadline

Maverick’, ‘The Batman’, ‘Elvis’ On List – Deadline

The American Society of Cinematographers has unveiled the nominations for its 37th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography. The society’s marquee Theatrical Feature Film nominees are Roger Deakins for Empire of Light, Greig Fraser for The Batman , Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for…

[karingottschalk]

Fujinon Lenses: Top Gun: Maverick BTS with Cinematographer Claudio Miranda, ASC – Commentary

Fujinon Lenses: Top Gun: Maverick BTS with Cinematographer Claudio Miranda, ASC – Commentary

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2013 — Claudio Miranda, ASC Life of Pi (2012) Directed by Ang Lee Aspect Ratio: 1.85 : 1

“Ang wanted to go a little bit further in this movie, however – to bring out emotions by where people sit in the screen, how much they intrude into your space, and at times just bring things a little bit closer.”

“When I did Tron people told me the rules and I said: “Okay, well, let’s see why we don’t want to do any of that stuff.” He ended up experimenting, pushing the envelope and shooting Tron his own way; he took this ethos to Pi and occasionally tried the “stuff you’re not supposed to do ... you need to ask questions; maybe a certain technique's not right all the time but it could be great now. So there are a lot of rules broken!”

“For one scene in India we used almost one hundred thousand candles,” recalls Miranda. “We lit up the night. In the scene, a sleeping Vishnu is carried down to a pool and is paraded around the water on a floating barge. The whole production crew was lighting candles – everyone was lighting candles. That was an awesome moment.” — [x]

[technewsdergi]

Yeni Sensör, Olağanüstü Görüntü Kalitesine ve İnanılmaz Düşük Işık Hassasiyetine Dönüştürüyor: VENICE II

Technews blogta yeni bir yazı var: https://www.technews.com.tr/broadcast/yeni-sensor-olaganustu-goruntu-kalitesine-ve-inanilmaz-dusuk-isik-hassasiyetine-donusturuyor-venice-ii.html

Yeni Sensör, Olağanüstü Görüntü Kalitesine ve İnanılmaz Düşük Işık Hassasiyetine Dönüştürüyor: VENICE II

Sony, temiz gölgeler, yuvarlanan parlak noktalar ve doğal ten tonları yakalamak için 16 durak pozlama enlemine sahip yeni 8.6K tam kare görüntü sensörüne sahip amiral gemisi VENICE II Dijital Sinema Kamerası’nı tanıttı

Yeni geliştirilen 8,6 K (8640 x 5760) tam çerçeve CMOS görüntü sensörüyle eşleştirilen VENICE II, mükemmel renk ayrımı ve gölge ayrıntılarıyla güzel görüntüler yakalamak için toplam 16 duraklı mükemmel görüntü kalitesi sunar. Fotoğraf makinesi aynı zamanda renk bilimini, doğal ten rengi tonlarıyla büyük beğeni toplayan orijinal VENICE’ ten alır. VENICE II. 8K CineAlta kamera, film yapımcılarının çok çeşitli aydınlatma koşullarında inanılmaz derecede temiz, film benzeri görüntüler yakalamasını sağlayan 800/3200’lük benzersiz bir çift tabanlı ISO’ya sahiptir. Full frame, full frame anamorphicii’den Super35’e kadar her şeyi minimum 4K çözünürlükte destekler, bu da görüntü yönetmenleri ve prodüksiyonlar için olağanüstü ve çok yönlü bir kamera sistemi sağlar.

VENICE II’nin gücünü ve yeni 8.6K sensörünü göstermek için Sony, herhangi bir profesyonel film aydınlatması kullanmadan kameranın görüntü kalitesini birkaç ayrı film çekiminde test etmek için sektörün önde gelen görüntü yönetmenleriyle birlikte çalıştı.

Game of Thrones (iki Emmy adaylığı aldığı), Westworld ve Lovecraft Country gibi çok beğenilen yapımlarda çalışmış olan ödüllü görüntü yönetmeni Robert McLachlan ASC, CSC. McLachlan yeni 8.6K full frame VENICE II ile iki ülkede test edip filme aldı ve tepkisini sundu.

“Geçmiş çalışmamdaki Sony VENICE II gibi geniş formatlı 8.6K sensöre sahip olmayı gerçekten isterdim. Arttırılmış çözünürlük ve zenginlik sayesinde daha destansı ve aynı zamanda daha ilgi çekici hissettirirdi. Artan hız, daha net vurgular ve gölgeler, süper sığ alan derinliği potansiyeli ile birlikte büyük bir varlık olurdu.”

Akademi Ödüllü görüntü yönetmeni Claudio Miranda ASC, ACC orijinal VENICE’i kullandı ve VENICE II’yi Kaliforniya çölünün zifiri karanlığında orijinaline karşı test etti. Bu değerlendirmeyi sundu:

Miranda, “3200 ASA inanılmaz. Bence ne kadar temiz – kesinlikle önemli bir şey” dedi.

“Filmde hala gölgelerde aslına uygunluk var ve geniş çekimler oldukça muhteşem. Bu çekimde hiç film ışığı yoktu. Sadece arabanın farları, ateş vardı ve mesele buydu. Hiçliğin ortasına gidip büyük bir ateş yakmak ve yeni sensörün dağı gürültü olmadan ne kadar aydınlatabileceğini görmekti.”

Mission Impossible: Fallout, Ex-Machina ve DEVS’deki çığır açan çalışmasıyla tanınan ve Boy A için BAFTA’yı kazanan İngiliz görüntü yönetmeni Rob Hardy, BSC, ASC, diğerleri arasında şunları söyledi:

“Orijinal VENICE’i kullanmaya alışığım ve diyebilirim ki, bu kameranın büyük ölçüde savunucusuyum. VENICE II’yi kullanma fırsatı aslında gerçekten harika. Bunu ilk kez kullanıyorum. daha büyük sensör, 8.6K ve gerçekten tam sinema efekti için ayarlanmış ve tüm sensörü gerçekten kullanan bazı anamorfik lensler elde edecek kadar şanslıydık. ISO’lar yükseltildi, böylece düşük hızda daha yüksek hızda çekim yapmamı sağladı Daha önce gerçekten bir seçenek olmayan bir şey olan ışık seviyeleri ve bu benim için büyük kazanç.”

Bol miktarda örnekleme sağlayan 8.6K sensör ile VENICE II’de çekilen görüntüler, 2K veya 4K prodüksiyonda daha az gürültüden ve zenginleştirilmiş bilgilerden faydalanacaktır. Bu aynı zamanda kameranın VFX ve Sanal Prodüksiyon kurulumlarında VR için çok uygun olduğu anlamına gelir ve özellikle Sony’nin yüksek kontrastlı ve büyük ölçekli Crystal LED ekranlarıyla birlikte sürükleyici bir deneyim ve gerçekçi görüntüler sunar.

Kullanıcıdan Etkilenen Yükseltmeler VENICE 2, Dual Base ISO, 8 kademeli yerleşik ND filtreleri, tüm PL yuvası ve çok sayıda lens için adaptörler. Yapım topluluğundan gelen doğrudan geri bildirimler sayesinde, VENICE II, orijinal VENICE’ten daha küçük ve daha hafif bir gövdeyle tasarlanmıştır ve sezgisel kullanım özelliğini korur. 44 mm daha küçük ve yaklaşık %10 daha hafif olmasına rağmen, VENICE 2 kasası X-OCN ve Apple 4K ProRes 4444 ve 422 HQ’nun AXS-R7 kayıt cihazı olmadan dahili olarak kaydedilmesine olanak vererek kompakt ve hafif bir gövdede gelişmiş kullanılabilirlik sunar.

Değiştirilebilir Sensör Tasarımı Yerinde daha da fazla esneklik için VENICE II kasası, görüntü sensörü bloğunu değiştirmek için benzersiz bir özellik ekler. Kamera, orijinal 6K sensör bloğunun yanı sıra 8.6K sensörle de kullanılabilir ve kamera gövdesi değişikliği otomatik olarak algılar ve herhangi bir ürün yazılımı değişimi veya yeniden yükleme olmadan çalışmaya başlar ve yerinde daha fazla esneklik sağlar. Orijinal 6K sensör, daha yüksek kare hızlarına izin verecek.

Dahili Kayıt ve Daha Küçük Boyut ile Gelişmiş Kullanılabilirlik Küçük ve hafif ancak sağlam yapılı VENICE II gövdesi, 8K 60p kayıt için yeni yüksek hızlı 6,6 Gb/sn AXS kartı AXS-A1TS66’dan yararlanır. Thunderbolt™3vi arabirimi aracılığıyla AXS-AR3 dahil olmak üzere mevcut AXS Bellek Kartı Okuyucuları yeni ortamla uyumludur.

Ek olarak, VENICE II kullanıcı arayüzü orijinal VENICE ile aynıdır ancak kullanımı daha kolay ve daha sezgisel hale getirmek için iyileştirmeler içerir. Kamera, neredeyse tüm orijinal VENICE aksesuarlarıyla uyumluyken gelişmiş bir ürün tasarımı sunar.

Kullanılabilirliği geliştirmek için mevcut VENICE kullanıcılarının geri bildirimlerine dayalı olarak VENICE II’ye yönelik diğer güncellemeler şunları içerir:

LUT uygulanmış 4K çıkış

Resim kalitesini iyileştirmek için geliştirilmiş 3D LUT işleme

Doğrudan S-Log3 çıkışlarına uygulanan EI değişiklikleri

Ethernet/Wi-Fi üzerinden LUT/ASC-CDL kontrolü

Sığdırmak İçin Yakınlaştır (17:9/16:9 izleme ile Full Frame kayıt) işlemi

Ethernet konektörü konumu, Camera Assistant tarafına değiştirildi

Lemo 2pin 12V çıkış konektörü

Dahili mikrofon takılı

Kullanılabilirlik

[artwalktv]

Watch the first footage shot on Sony’s new CineAlta VENICE 36x24mm Full Frame Digital Motion Picture Camera System. THE DIG is written and Directed by Joseph Kosinski and captured by Cinematographer Claudio Miranda, ASC. Learn more about VENICE: http://bit.ly/2fw3Xy7

[inofaith]

THE DIG – The First Film Shot on Sony’s CineAlta VENICE Full Frame Camera from Sony Professional on Vimeo.

Watch the first footage shot on Sony’s new CineAlta VENICE 36x24mm Full Frame Digital Motion Picture Camera System. THE DIG is written and Directed by Joseph Kosinski and captured by Cinematographer Claudio Miranda, ASC.

Learn more about VENICE: sony.com/VENICE

[805aerial]

Academy Award®-winning DP Claudio Miranda Uses DaVinci Resolve Studio and DaVinci Resolve Mini Panel

(Fremont, CA--May 18, 2018) Blackmagic Design today announced that Academy Award-winning DP Claudio Miranda, ASC, (Life of Pi) uses DaVinci Resolve Studio and the DaVinci Resolve Mini Panel for editing and color grading as part of his work as a cinematographer, as well as on his personal projects. from Video Production : Creative COW News https://ift.tt/2KCfzJY via 805Aerial.com

[awardseasonblog]

Annunciate le #nominations agli American Society of Cinematographers Awards (#ASC) i premi con cui il sindacato dei direttori della fotografia sceglie ogni anno le migliori realizzazioni professionali in ambito cinematografico e televisivo. I loro verdetti sono molto attesi in chiave previsioni, perchè consentono di stabilire il favorito agli Oscar nella categoria #BestCinematography. -Feature Roger Deakins, ASC, BSC for “Empire of Light” (Searchlight Pictures) Greig Fraser, ASC, ACS for “The Batman” (Warner Bros.) Darius Khondji, ASC, AFC for “Bardo, False Chronicle of a Handful of Truths” (Netflix) Claudio Miranda, ASC for “Top Gun: Maverick” (Paramount Pictures) Mandy Walker, ASC, ACS for “Elvis” (Warner Bros.) -Spotlight Sturla Brandth Grøvlen, DFF for “War Sailor” (DCM Film) Kate McCullough, ISC for “The Quiet Girl” (Super) Andrew Wheeler for “God’s Country” (IFC Films) -Documentary Ben Bernhard and Riju Das for “All That Breathes” (HBO/HBO Max) Adam Bricker for “Chef’s Table: Pizza” – “Franco Pepe” (Netflix) Wolfgang Held, ASC for “This Stolen Country of Mine” -A sorpresa escluso Avatar: The Way of Water che aveva ottenuto la nomination a 3 premi chiave per la fotografia. -dopo la candidatura ai premi del sindacato dei montatori del sonoro e degli scenografi, il film messicano Bardo conquista anche quella ai premi dei direttori della fotografia rafforzando la sua potenziale nomination agli Oscar per il Miglior film internazionale -il favorito è Claudio Miranda per Top Gun: Maverick dopo aver vinto più di 23 premi assegnati dalle Associazioni dei critici americani. https://www.instagram.com/p/CnOhSFpMQE1/?igshid=NGJjMDIxMWI=

[lorrainecparker]

Art of the Shot: Mindhunter cinematographer Erik Messerschmidt

Shot with a tailor-made RED camera, the RED XENOMORPH, auteur David Fincher chose cinematographer Erik Messerschmidt to helm camera for his latest, and possibly most ambitious project, the 10-episode Mindhunter series. Based on the novel Mind Hunter: Inside the FBI’s Elite Serial Crime Unit, Messerschmidt lensed actors Jonathan Groff and Holt McCallany during  the extended production as they play FBI agents Holden Ford and Bill Tench. Focusing on the precocious criminal psychology work of the 1970s, the show centers on the duo as they attempt to understand the mind of a serial killer. Mindhunter is available to watch via Netflix now.

MINDHUNTER

David Alexander Willis: You’ve had considerable experience in camera, lighting and electric, and as DP you’ve helmed several shorts and episodics along the way. When and why did you start to make the move from gaffing to camera? It must be an incredible honor as a filmmaker to be working with David Fincher! He’s considered to be a meticulous director. What was it do you think that gave him so much faith in you as his eyes on this extended series?

Erik Messerschmidt: I started as an electrician and grip out of film school and eventually moved into a career working as a gaffer. I was fortunate to work for some amazing cinematographers along the way; many whom became my mentors and close friends. Jeff Cronenweth, ASC and Claudio Miranda, ASC have been particularly amazing teachers. I had always thought of shooting as a long-term goal and I would periodically shoot small shorts, music videos and little jobs for friends. Jeff invited me to join him as his gaffer on the film Gone Girl and it was there that I met David Fincher for the first time. Gone Girl was a great experience for me. It was a very collaborative set and I was fortunate to be invited to participate on a creative as well as technical level.

When Fincher called about Mindhunter I was of course incredibly honored. It was a tremendous opportunity. David is extremely meticulous and detail oriented but he also has a specific aesthetic that percolates throughout every visual decision on the project. He and I share a lot of the same sensibilities, so it was a good match I think.

Erik Messerschmidt

DAW: It’s not a secret that David Fincher tends to do a lot of takes. On top of that, you’re shooting at massive 6K resolution, in what I can only assume are top-shelf bit-rates? I imagine you may have been blazing new grounds with the DIT situation on this? The crew must be top-of-their-game to be able to orchestrate such an exponential amount of footage across a ten-episode season? What were the demands there?

EM: I didn’t use a DIT on Mindhunter. The goal was to streamline the process as Fincher likes to work very quickly and efficiently. Our on-set data workflow was not unlike film. We had a loader who managed our cards; he then sent them to editorial twice a day, where the editorial staff ingested and processed the footage using a NextLAB system. The beauty of that system was we often had dailies posted to PIX later the same day – or before call time the following day. We shot with a standard RedGamma3 look and processed with that correction so we didn’t grade dailies. I like working that way, it’s similar to making a one-light work print with film. I could see if our lighting wasn’t perfectly matched or if my exposures were off. I don’t like doing any live-color grading or fancy LUTs on set, as I feel you can easily start chasing your tail. I’d much rather make those decisions in the controlled environment of the DI and view a simple gamma curve and neutral color balance out of the camera. If I can get the dailies to look close to the way I want with lighting and exposure, I can always fine tune in the grade later.

The RED XENOMORPH camera

DAW: The one-of-a-kind RED XENOMORPH made by RED for David Fincher was the only cam on this show? What was the genesis of this camera; was there something the production felt was missing from other available camera systems? I’m guessing with all the built-in wireless functionality, we should look forward to seeing a lot of unique remote and drone footage?

EM: The RED XENOMORPH design concept is something Fincher has been talking about for a long time. It’s an attempt to get back to the time when we could put a lens on the front of the camera and mag on the back and roll. These days we stick all sorts of aftermarket boxes on cameras to satisfy various needs. Timecode boxes, focus motors and MDRs, video transmitters, on-board monitors, etc. All these devices require power cables and the camera can quickly turn into a big mess. David said “look, if we need all this stuff, let’s build it into the camera.” So that’s what RED did for us. I think it’s great because we can put the lens and battery on and be shooting within minutes, all while maintaining the functionality the assistants need.

DAW: I know that David Fincher likes to stabilize for 4K deliverables, which Netflix requires, with extra framing. Was that the case here? The 33mm imaging circle of the Summilux-C lenses cover more than Super35, but they’re a bit smaller than the standard RED DRAGON 6K sensor; there weren’t any problems with vignette or his typical stabilization workflows?

EM: We framed for a 5K extraction within the full 6K aperture of the RED DRAGON sensor. This “look-around” area outside the reticle was used for re-framing and stabilization if needed. The extraction was ultimately scaled for a 4K delivery. There is a little tiny vignette with the wider Leica Summilux-Cs on the full 6K aperture, but we didn’t worry about it much.

DAW: The CW Sonderoptic Leica Summilux-C lenses are a relatively new system, why did you choose them for the Mindhunter series? Were there any favored focal lengths or other lenses during the course of the shoot?

EM: Fincher and Jeff Cronenweth had used the Summilux-Cs on Gone Girl and had a good experience with them. They are a nice compact lens system. The fact that all the lenses are the same size is particularly helpful to the assistants. I shot most of the show between T2-2.8. There were a couple instances where I needed to shoot near wide open, but I tried to keep it consistent as I like the focus fall off and depth of field characteristics of those apertures. Day exteriors I tried to work around a T4. The Summilux-Cs are remarkably flat and sharp lenses, but they do have a little bit of personality, which is nice I think. It’s important to me that the lenses are consistent in terms of color and contrast between sets. These were all spot on. We shot almost the entire show on the 29mm and 40mm lenses with the 65mm being used for some close-ups. I think we used the 18mm once.

DAW: Jarred Land posted a picture of the Plate Van prototype built by Global Dynamics United, a company owned by RED Digital Cinema’s Chief Design Officer, Matt Tremblay. It was designed with your co-DoP, Christopher Probst, and David Fincher. Did you get a chance to play with this system, and there must have been lots of other kinds of fun tech that came into play during this long shoot? What is it about the needs of Mindhunter that have required so much inventive new equipment? Red Digital Cinema, being a great fan of David Fincher’s work, seems to have given this production a kid-in-a-candy-store level of access to their technology?

The Ultimate Plate Van™ I helped create for David Fincher and his upcoming series, Mindhunter. 11 Red Epic Dragon cameras all controlled via one master switch from inside the luxurious bench seating in the Mercedes Metris Minivan. Designed between Fincher, Jarred Land @instajarred, key grip Eric Budlong @mtnbikethis and myself. The idea behind the setup is, 11-12 cameras are rolled simultaneously covering all pre-determined angles, focal lengths, heights and degrees of tilt that will be shot of the actors in the corresponding picture car on our custom greenscreen process stage. @reddigitalcinema @camtec_mpc . #reddigitalcinema #mindhuter #davidfincher

A post shared by Christopher Probst, ASC (@probstdp) on Sep 9, 2017 at 6:34pm PDT

EM: Chris Probst, Fincher and Jarred Land at RED did an amazing job developing the van for our driving plate photography. We shot all our driving work on stage using a video wall system provided by VER and the plates we shot also served as our interactive lighting content. We had developed that specific system on Gone Girl and David had used something similar on House of Cards.  The van uses 11 RED cameras placed in 5 locations to capture all the background plates. We would line up all the car coverage in advance on stage with each director. Data like lens height, tilt, pan angle and focal length was recorded; then when we shot the plates those data points were used to set each camera position. The resulting plates dropped right in the green screen mattes with very little de-warping or perspective skewing needed. It was pretty turnkey.

David has a long history with Red Digital Cinema, starting with The Social Network and they were an incredible resource on Mindhunter. He is a director who likes to use technology to solve production problems and increase efficiency so the motivation isn’t really about the toys, it’s all driven by the work.

DAW: David Fincher directs four of the episodes himself, alongside directors Dane Tobias Lindholm, Andrew Douglas, and Asif Kapadia. Cinematographer Christopher Probst helmed two episodes, while you were lead for the majority of this first season on the other eight episodes. With so many chefs in the kitchen, how did that break down in terms of preproduction, planning and coordination? Were there any tough decisions for you about who got to shoot what?

EM: One of the unique challenges of television can be reconciling all the creative visions of different directors into one cohesive visual approach. It all starts with strong leadership at the producer level and having Fincher there as a sounding board for myself and the other directors was invaluable. A huge part of my role was to help the directors use the camera in ways that fit within the visual frame work we had designed for the show, so the storytelling felt consistent.

We didn’t have a steadicam for example, nor did we use handheld cameras, which a lot of directors are used to these days. If a director wanted to tell the story in one shot, or move the camera, we might paint out dolly track, roll on the floor and stabilize the shot, or use a crane. I was fortunate on Mindhunter to have prep time between episodes to work with each incoming director in pre-production and scout with key grip Paul Goodstein and gaffer Danny Gonzalez. This was invaluable. With the exception of Fincher, each director shot two consecutive episodes, so the show was a lot like making five little movies in a row instead of one long series.

  The post Art of the Shot: Mindhunter cinematographer Erik Messerschmidt appeared first on ProVideo Coalition.

First Found At: Art of the Shot: Mindhunter cinematographer Erik Messerschmidt

[karingottschalk]

Jon Fauer ASC's Always Essential & Excellent 'Film and Digital Times' September 2022 Issue Is Out Now

Jon Fauer ASC’s Always Essential & Excellent ‘Film and Digital Times’ September 2022 Issue Is Out Now

The September 2022 issue of the number one most essential bimonthly film and digital movie production publication, ‘Film and Digital Times’, by cinematographer Jon Fauer, ASC, is out now to read online, download as a PDF or obtain in its printed version.  We’ve already skimmed through it as a PDF and several products, news and interview articles immediately caught our eye:  Claudio Miranda, ASC…

[rogerdeakinsdp]

Cinematography by: Claudio Miranda, ASC The Curious Case of Benjamin Button (2008)* Directed by David Fincher Aspect Ratio: 2.40 : 1

“The intention was to be as naturalistic as possible,” says Miranda. “Our initial influence for textures and framing was [painter] Andrew Wyeth. I took my still camera to the locations, documented the natural light and figured out what I wanted to add or subtract. I didn’t want it to feel like we were beaming in light anywhere. When you bring in 40-footers and lights and cables, the original [look] sometimes gets muted.”

“Like all of David’s movies, this movie features very exact framing, and camera moves go from a definite Point A to a definite Point B,” continues Miranda. “The only handheld work is Tarsem’s, the travel-around-the-world sequence.” The shots to which Miranda refers were made on film by director Tarsem Singh (The Cell, The Fall); when Fincher found out lead actor Brad Pitt was touring the Far East and Singh was in the same area, he asked Singh to shoot footage of the actor in exotic locations to enhance the appearance of Button experiencing the world.” — [x]

*Academy Award nominee for Best Cinematography in 2009

[tonemesa]

THE DIG – The First Film Shot on Sony’s CineAlta VENICE Full Frame Camera from Sony Professional USA on Vimeo.

Watch the first footage shot on Sony’s new CineAlta VENICE 36x24mm Full Frame Digital Motion Picture Camera System. THE DIG is written and Directed by Joseph Kosinski and captured by Cinematographer Claudio Miranda, ASC.

Learn more about VENICE: sony.com/VENICE

[challengeartistsimple]

THE DIG – The First Film Shot on Sony’s CineAlta VENICE Full Frame Camera from Sony Professional USA on Vimeo.

Watch the first footage shot on Sony’s new CineAlta VENICE 36x24mm Full Frame Digital Motion Picture Camera System. THE DIG is written and Directed by Joseph Kosinski and captured by Cinematographer Claudio Miranda, ASC.

Learn more about VENICE: sony.com/VENICE