Park City

Canon U.S.A. Welcomed Filmmakers to the Canon Creative Studio as a Sponsor of the 2018 Sundance Film Festival

By Canon Rumors MELVILLE, N.Y., February 6, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, returned as a Sustaining Sponsor to the 2018 Sundance Film Festival (January 18th–28th in Park City, Utah). Canon celebrated filmmakers working behind the camera with daily programming at the Canon Creative Studio, located at 592 Main Street. At least 63 of the 239 … → continue…

From:: Canon Rumors

Public Record Premieres “We the Animals” at Sundance Film Festival

By Press Kitchen

Park City, UT

Brooklyn-based production and entertainment company Public Record premiered their first narrative feature film, We the Animals, at the 2018 Sundance Film Festival this weekend to critical acclaim. Hailed by IndieWire as ‘This Year’s ‘…

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From:: Shoot OnLine

Sundance 2018 – Meet the Cinematographers: Laela Kilbourn

By Graham Sheldon

It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time.

A film still from This is Home by Alexandra Shiva, an official selection of the World Cinema Documentary Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by Gidalya Pictures

DP: Laela Kilbourn
FILMS:
This Is Home: A Refugee Story (dir. Alexandra Shiva)
SUNDANCE CATEGORY:
World Cinema Documentary Competition
CAMERA:
Canon EOS C300 EF MK I
GLASS:
Canon 24-105mm f4 EF zoom
Canon 17-120mm Cine-Servo T2.95 EF zoom
Canon 70-200mm f2.8 Version II EF zoom
Canon 24-70mm f2.8 Version II EF zoom

cinema5D: Why did you choose this particular camera body?

LK: I starting shooting with the C300 when it first came out, and have shot many films on it since. (I own it as well.) I work primarily on verité documentary features and find it well suited to the work process: its design is accessible, modular, compact, and lightweight. I’ve always been partial to the Canon color space. I like its overall warmer feel and how it handles skin tones, and the color rendition is such that I can bake in a certain amount of “look” while still being able to fine tune the color in post without loss of quality.

cinema5D: How about the lenses?

LK: We started out filming primarily on the 24-105mm f4 EF zoom because we wanted a compact, low-impact camera profile, but as our film subjects became more comfortable with the process we switched to the Canon 17-120 Cine-Servo T2.95 EF zoom. We wanted a wider focal length range, sharper focus, and more beautiful soft focus. cinema5D: What was really pivotal for you on either production?

cinema5D: Did you use any new → continue…

From:: Cinema 5d

Sundance 2018 – Meet the Cinematographers: Matt Porwoll

By Graham Sheldon

It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time. Meet Matt Porwoll, DP of The Trade.

Still from The Trade. Courtesy of Sundance Institute.

DP: Matt Porwoll
FILM: Showtime’s The Trade (doc series)
SUNDANCE CATEGORY:
CAMERA: Canon C300 MarkII
GLASS: Canon EF Series

cinema5D: Why did you choose this particular camera body?

MP: We needed a camera that was small, good in low light, had high dynamic range, and capable of recording good quality audio. To me, there was no better choice than this setup.

cinema5D: How about the lenses?

MP: We needed to keep our camera package light and compact. This lens list gave us a huge range of focal lengths without having to carry a lot of gear. While we shot 90% on the zooms, we had the 24mm prime for extreme low light shooting situations.

cinema5D: Did you use any new tech or tools for this shoot?

MP: We kept our camera package as slim as possible, and gave ourselves restrictions on gear to
maximize the creativity. We didn’t use gimbals, sliders, etc and stuck to traditional handheld
verite for our shooting style. We did employ a drone in each city for high angle perspective shots
of the areas our characters existed in.

cinema5D: Any go-to glass filtration in your kit?

MP: Since we were shooting with EF lenses that have a clicking iris, we used variable ND filters to
subtly adjust exposure while being able to maintain a consistent shooting stop on the lens –
generally an f4. We also had a polarizer for landscapes and establishing shots.

cinema5D: Other than the camera package, what was a pivotal piece of your kit?

MP: Our camera team was not only shooting, but → continue…

From:: Cinema 5d

“I Wanted the Film to Have the Tactile Feel of the Vinyl Sound”: DP Eric Lin ON Hearts Beat Loud

By Filmmaker Staff

Director Brett Haley arrives at Sundance for a second year with a new dramatic feature. In 2017 Haley premiered The Hero, which went on to earn more than $4 million in the U.S. box office. He returns to Park City this year with Heart Beat Loud, a music-driven drama set in Red Hook, Brooklyn. The film stars Nick Offerman as a single dad who bonds with his daughter (Kiersey Clemons) through their shared love of playing music. DP Eric Lin (I Smile Back, Equity) shot the feature. Lin spoke with Filmmaker before the film’s screenings at Sundance about filming musical performances […] → continue…

From:: Filmmaker Magazine

Sundance 2018 Critic’s Notebook, Day 6: Madeline’s Madeline, Of Fathers and Sons, A Futile and Stupid Gesture, The Price of Everything

By Vadim Rizov

Context is everything — I’m writing this final Sundance dispatch at a remove of a day/continent from Park City, back in NYC, with a day’s pause between marathon-writing while reconsidering the chronological melange of what I saw and what, if any, narrative can be extrapolated about this year’s fest. My feeling, overall, is of a weak year, despite having (per usual) missed some of what appear to be the standout titles (Mandy, alas), which framed my response to Madeline’s Madeline, the last film I saw there. Is this a great movie? With a day to think about it, I’m not sure […] → continue…

From:: Filmmaker Magazine

Sundance 2018 – Meet the Cinematographers: Rudy Valdez

By Rin Ehlers Sheldon

It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time.

Rudy Valdez is the director of The Sentence, an official selection of the U.S. Documentary Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by Nadia Quinn. Courtesy of Sundance Institute.

DP: Rudy Valdez
FILMS: The Sentence (dir. Rudy Valdez)
SUNDANCE CATEGORY: U.S. Documentary Competition
CAMERA: 5D MarkII, C300, & C500
GLASS: Canon L-Series

cinema5D: Why did you choose this particular camera body?

RV: I really like using the 5D and C300/500 cameras on my projects because they really allow me to stay small. I think for the type of work that I do and especially this film, it’s important for me to not take over a room with a giant rig. Most of the work that I do is verité, and I need to be able to move quickly and shoot wherever the scene/character takes me. These cameras allow me to do this while still capturing beautiful images. The 5D MkII worked so well, and I loved the images that the larger sensor allowed me to capture. I ultimately started using the C300/500 because of the C-Log option and the audio workaround was starting to become a bit of a pain.

cinema5D: How about the lenses?

RV: My go-to lenses on the project were the L series 24-105, 24-70, and the 50mm (1.2). I also used some of the Cine Lenses when I had them at my disposal. The 24-105 is a great run and gun lens for me, especially when I paired it with the large sensor of the 5D. In this film, I was → continue…

From:: Cinema 5d