Shooting Uppercut in only four nights during the pandemic
During the summer of 2020 in Berlin, DoP Maher Maleh shot a next-generation chamber play using Supreme Prime Radiance lenses paired with the Sony Venice camera. He sat with ZEISS Cine Lenses to discuss his approach.
Senaste 5 nyheterna
2022-09-23 | Hans Hansson
IBC 2022 Welcome to this week’s Cinematography World Dispatch
The team attended IBC2022’s return as a face-to-face show in Amsterdam, where it was great to catch up with some familiar as well as lots of new faces.
Kaz Pearman from Cinematography World talks to Luke Curtis, UK & EU Marketing Manager at Nanlite Global about its groundbreaking new lighting product.
2022-09-22 | Hans Hansson
IMAX: The New Cameras Will Open New Opportunities for Filmmakers
In an interview with Forbes, the Senior Vice President Head of Post at IMAX Corporation explained the logic behind developing four new IMAX cameras. “They will make for IMAX sequences with a different feel — Directors will be able to use them for more intimate, personal moments, not just for big, noisy action sequences” he said. Imagine that: Using those beasts in dialog scenes…
2022-09-20 | Hans Hansson
Australian Film is World’s First to Use Real-Time Ray Tracing in Production
The new Australian film Don’t Go Below is the world’s first to use a real-time ray tracing system that utilizes ultra short throw projectors and ambient light-rejecting screens, melding a digital environment with actors.
Ray tracing is a computer modeling technique that is able to render how light hits objects in a way that mimics how it acts in real life. It is incredibly hardware intensive and for a long time had a significant impact on framerate, but new commercial graphics cards have been optimized to allow for the use of the technology while maintaining a decent framerate. The result has been a boon for the quality of video game graphics, but it also has applications in films.
2022-09-20 | Andrés