John Toll, the Oscar-winning cinematographer of Braveheart, is boarding Neo and Trinity’s next mission.
The Hollywood Reporter has learned that Toll is in negotiations to shoot the new untitled Matrix movie from director Lana Wachowski.
Toll, who made Oscar history by winning back-to-back awards for his work on 1994’s Legend of the Fall and 1995’s Braveheart, is no stranger to blockbuster fare. He previously worked on 2013’s Marvel hit, Iron Man 3. This production will reunite the legendary DP with Lana; the two (and Lilly Wachowski) previously shot Cloud Atlas and Jupiter Ascending together. Toll also worked with the Wachowskis on their Netflix series, Sense8.
Lana, who co-created and directed the previous Matrix trilogy with sibling Lilly, is directing this project solo.
The fourth film in the franchise will see Keanu Reeves and Carrie-Anne Moss reprise their iconic roles of Neo and Trinity, respectively. Lawrence Fishburne’s Morpheus may be recast with a younger actor, according to reports.
Jeremy Merrifield learned a lot while creating his award-winning film at AFI. He tells NFS all about his process for his award-winning film, Balloon.
I’ve been an avid reader of NoFilmSchool since its earliest days as a blog with only Ryan Koo posting. I’ve never tired of the film school debate this site was founded on. Anyone who knows me knows I have long been against film school — I’m not one for traditional classroom learning. For me, I need to be doing it and I place a lot of value in seeking out and building my own miseducation. So, I don’t typically advocate an academic setting—that is unless there is a specific use. For example, I need a degree because I want to become a heart surgeon. And that’s exactly why I ended up at the American Film Institute. Not because I wanted to be a heart surgeon, but because I had a specific use.
Lately, I’ve found myself really thinking a lot about portfolios, in both physical and digital form. This throwback video helps with the most basic question: how do you choose the work for your portfolio?
The writing on Succession makes it fun to watch, but the technical aspects of the show elevate it to one of the best on TV. Here’s how they do it!
Succession is one of the best shows on television right now. It follows the Roy family as they decide who will take over the company after their patriarch experienced some health concerns. Somehow, hilarity ensues. The show’s writing is lauded far and wide for painting the picture of these people and making them simultaneously terrible and likable.
While I usually spend my columns here jumping on that excellent writing bandwagon, I wanted to take some time out to highlight the more technical aspects that make a show like Succession not only feel real, but stick in our minds for days on end.
So let’s talk about the editing, cinematography, and nuance that turned Succession into another HBO hit.
Meet the Roys
The Roy family and extended family are some of the best anti-heroes of this generation of television. They all talk quick, get to the point, and have no time for nonsense. Except for Greg. Who basically is nonsense.
Fujifilm has announced two new 2/3-inch UHD broadcast lenses, the FUJINON UA18x7.6, and FUJINON UA23x7.6. These two new offerings join the UA Series of 4K broadcast lenses. Both lenses feature a compact and lighter design. UA18x7.6 The new UA18x7.6 is a lens designed for a range of applications, including news-gathering, sports, house of worship, and … Continued
In the quest to become a professional photographer, it is really easy to come to the conclusion that anything we shoot from that point forward must be for our portfolio and must be within our lane. This line of thinking can quickly lead to photography burnout and losing our love for the art/practice/business.
In total, 2,219 images were submitted and judged by Justin Gilligan, Glenn McKimmin and Tui De Roy. In the end, the 2019 Australian Geographic Nature Photographer of the Year award was handed out to Mat Beetson of Western Australia for the above image of a beached Fin Whale being circled by sharks on Cheynes Beach in Albany, Western Australia. The winning image was captured with a DJI Phantom 4 Pro drone, marking the first time a drone-captured photograph has won the competition.
‘It was unreal, arriving at a peaceful coastal town with a pristine beach and then seeing this huge whale not even five metres from shore – we then noticed the thrashing close by and realised that a few sharks had also stopped by,’ Beetson told the Southern Australian Museum about the capture. ‘I launched the drone to see the aerial view and captured a sequence of photographs, this shot was one of the last ones I took and I was very lucky that the shark came back for a look.’
Beetson received a $10,000 cash prize as well as a Coral Expeditions cruise for winning.
The remainder of the images in this gallery are the ten winners in each of this year’s categories.
The fin whale is sighted regularly in this region; seeing one beached, however, is rare. The whale sits less than 5m from shore and 100m from residential homes, giving whale researchers access to an unusual occurrence for this species. Bronze whalers and great whites feasted over the remains before removal.
Location: Cheynes Beach, Albany, Western Australia
Gear: DJI Phantom 4 Pro Drone, 24mm, 1/500, f/5.6, ISO 100, 118m high, filmed with permission DPAW
Photographer: Mat Beetson, Western Australia
Photo credits: Images owned by their respective creators, used with the permission of the South Australian Museum.
Winner, Animal Portrait
Decorator crab, Achaeus spinosus
Typically, decorator crabs attach pieces of sponge and seaweed to themselves to camouflage and hide from predators (which makes them very poor photographic subjects). However, Achaeus spinosus attaches stinging hydroids to itself to ward off potential predators (making it a very attractive subject for photography).
Location: Lembeh Strait, North East Sulawesi, Indonesia
Gear: Canon EOS 7D Mk II, Canon EF 100mm, f/2.8 macro USM, 1/250, f/16, ISO 200, INON Z240 strobe with Retra Pro light shaping device, handheld
Photographer: Ross Gudgeon, Western Australia
Winner, Animal Behaviour
Humpback whales, Megaptera novaeangliae, Dolphins, unidentified species
The heat run is the ultimate wildlife encounter – multiple whales competing for a female. The chase can last for hours or even days and males can display bubble netting, open mouth gulping, physical contact, loud acoustic sounds, and breaching. Even after 16 years documenting humpback behaviour in the region, it is still truly heart-thumping and adrenaline-pumping action.
Location: Tonga, South Pacific
Gear: Canon 1DX Mk II, Canon 8–15mm fisheye, 1/320, f/8, ISO 200
Photographer: Scott Portelli, New South Wales
Winner, Animal Habitat
Commensal amphipod living in solitary ascidian
I was searching for miniature pygmy seahorses on the reefs of West Papua when I happened across this tiny amphipod crustacean. Just 0.5–1cm long, this male is sitting at the mouth of the sea squirt to guard the females and young within. According to an amphipod expert, this is likely a new species.
The elusive ghost mushroom show starts after dark, when the green light of its bioluminescence glows across the pine forest on the Bellarine Peninsula. It seems like magic but the glowing works to attract insects that then help disperse the spores and spread the mushroom.
Location: Ocean Grove, Victoria
Gear: Canon 5D Mk IV, Samyang 14mm, 30, f/2.8, ISO 3200, Manfrotto tripod
Photographer: Marcia Riederer, Victoria
When Barron Falls (Din Din) is in flood, the usually tranquil scene is transformed into a tumultuous cataract as huge volumes of water make their way to the coastal plain below. The sheer violence of this display, coupled with the deafening roar, makes it an unforgettable experience.
Location: Barron Falls, Kuranda, Queensland
Gear: Pentax X-5, 28.3mm, 1/320, f/5, ISO 100, handheld
I came across this amazing juxtaposition of a honeycomb moray eel and a textured brain coral. It screamed monochrome to me, but one of the significant disadvantages of shooting underwater is that you cannot just change your lens to suit the subject. Still, I slowly moved as close to the eel as possible, increased the depth of field, and adjusted my strobes to light up the coral and the eel.
Photographer: Tracey Jennings, United Kingdom/Malaysia
This night was the most amazing display of lightning that I have ever seen, with constant flashes of lightning lasting hours. For the composition, I decided to focus on a man standing at the edge of the water with an umbrella to add a sense of scale to the image.
Location: Fingal Bay, New South Wales
Gear: Canon EOS 5D Mk lll, Canon 17–40mm f4 L, 15, f/4, ISO 200, tripod
Photographer: Floyd Mallon, New South Wales. Age 17
Winner, Our Impact
The Menindee Lakes were deliberately drained in 2016–17 and New South Wales has experienced a lengthy drought. Animals and birds desperately seek food and water and there is very little left due to these human-made and natural events. Lake Cawndilla is now just a drying lakebed scattered with the remains of our native animals.
Location: Cawndilla Creek, Menindee, New South Wales
Photographer: Melissa Williams-Brown, South Australia
Threatened Species Winner
Winner, Threatened Species
Mertens’ water monitor, Varanus mertensi
Mertens’ water monitors are highly inquisitive. This extremely bold specimen ostentatiously approached me to investigate the good-looking lizard in my dome port while I observed another nearby pair engaged in courtship – sadly for him he was staring at his own reflection, not the mate of his dreams.
Location: Adelaide River, Northern Territory
Gear: Olympus OMD EM-1 Mk II, Olympus 8mm f1.8, 1/125, f/11, ISO 64, two Sea & Sea YS-D2 strobes, manual flash output, handheld, Nauticam underwater housing
This trailer goes all out for awards buzz without revealing too much.
The Report was one of the biggest success stories to come out of Sundance earlier this year, when Amazon Studios purchased distribution rights for roughly $14 million — giving birth to 2019’s first Oscar contender.
Written and directed by Scott Z. Burns (Contagion), The Report centers on Adam Driver’s Daniel Jones, an FBI agent struggling to investigate the CIA’s real-life use of torture on those the United States suspected of being terrorists after 9/11. His unsettling (and very real) investigation brought truths to light that men in high places and dark boardrooms didn’t want out there, ultimately resulting in the CIA taking on new interrogation techniques.
The film’s second trailer achieves a JFK-level of menace and political dread as it teases the drama and intrigue of this report, strongly implying that the greatest threat to our nation can often come from within.
The Blackmagic Pocket Cinema Camera 6K is out for a few weeks now – you can take a look at our full review here – and as you probably know it features a Canon EF lens mount. If you want to shoot with PL lenses on the BMPCC 6K, a new product just launched on Kickstarter: the Bezamod P6K. This product is not a simple “snap-in” PL to EF adapter. It is a modification kit that eliminates the flange depth limitation imposed by the native Canon EF mount. Let’s take a closer look.
PL Lenses on Canon EF Cameras
Adapting PL lenses to Canon EF cameras – or cameras with a Canon EF mount – is not something new. The flange focal distance of a PL lens is 52mm, and the flange focal distance of a Canon EF lens is 44mm.
So a bit of simple maths later, if you want to mount a PL lens to a Canon EF camera, you need a simple mechanical lens adapter that corrects this 8mm difference. Indeed, you will still be able to focus to infinity with this type of “snap-in” adapter.
Some companies already manufacture such adapters like Fotodiox, MTF, and so on. What’s different between a standard snap-in adapter and the Bezamod P6K?
The Bezamod P6K is a complete modification kit by cinematographer and colorist Clifton Stommel. A few years ago, Clifton already launched the Atoch C2S, an SSD recording option for the Blackmagic URSA Mini that we previously featured on cinema5D. Now, back to the adapter/modification itself, Clifton came out with this idea back in the days of the original URSA Mini and has been using it successfully on his productions.
The Bezamod P6K is different from a snap-in adapter. Usually, according to Clifton:
Snap-in type adapters are excruciatingly limited in their flange depth. What this means is that you cannot put any lenses in that have normal PL mounts! Personally, I’ve yet to work with a lens that is compatible with the snap-in kinds of adapters.
Although not visible in the presentation video, the Bezamod P6K is a modification kit, which means you will have to remove the native Canon EF mount to mount the Bezamod. Otherwise, the installation of the package does not require breaking or removing any warranty stickers on your camera. Also, it is a user-friendly modification which is fully reversible, so you can return your Pocket 6K to EF mount if you want (or for warranty purposes).
Clifton already successfully tested the Bezamod P6K with a considerable number of lenses, the full list is on the Kickstarter page.
A couple of PL lenses that Clifton already successfully tried on the Blackmagic URSA Mini.
Pricing and Availability
The Bezamod P6K comes with a 1 Year manufacturer’s warranty and support. It retails for $225 as an early-bird pledge. The expected shipping date is set for February 2020, and the campaign ends on September 20th. For more information and back the project, please visit the Bezamod P6K Kickstarter page.
Please be aware that this is a crowdfunding project and not a retail shop so do your research accordingly. cinema5D does its best to share only the projects that look legitimate, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
What do you think of the Bezamod P6K? Do you consider backing it for your BMPCC 6K? Let us know in the comment section!
Only a month after the launch of their Drone Anamorphic Lens, the team at Moment is already back with a new set of ND and CPL Cine Filters for mobile filmmaking. These filters are 37mm threaded standard and can work with any iPhone, Samsung Galaxy/One Plus, and Google Pixel smartphones. Let’s take a closer look.
Moment Cine Filters
When it comes to mobile filmmaking and lens filters, there are not a lot of options available on the market right now. To help you with that, Moment – a company specialized in mobile filmmaking – just released a new series of filters: Cine Filters.
These Moment Cine Filters are 37mm thread standard. They come in two flavors: ND and CPL. Also, if you already have a couple of 37mm filters at home and don’t want to invest in a new set of filters, they released a standard 37mm filter mount. Usually, other brands’ filters are the proprietaries of their mount, so it’s nice to see a few standard filter adapters on the market. However, to mount these filters to your phone, you’ll still need a Moment Photo Case that suits your smartphone.
The Moment Cine Filters case is made from CNC metal. The glass itself is what they call “cinema-quality glass”. It is a B270 quality glass with smart coatings to make the filter hydrophobic, scratch-resistant, anti-static, and anti-reflective.
To better suit your shooting conditions, multiple ND filters strengths are available, from ND 4 up to ND 64. Moment claims that the ND filters are “neutral color and incredibly sharp.”
Pricing and Availability
The Moment 37mm Cine CPL filter is $44.99. Each Moment 37mm Cine ND filter is $34.99. Finally, the Moment 37mm Filter Mount is $9.99.
All three products are available right now on Moment’s website, and all filters are 20% off for the first 72 hours.
What do you think of these new Moment Cine Filters? Do you often shoot content with special lenses or filters on your smartphone? Let us know in the comments!
A “lifestyle blogger” is trying to explain her actions after facing a backlash online for having a photographer friend document her motorcycle accident. The images drew particular criticism for appearing to have product placement with bottles of branded water placed in shot.
Lion King director Jon Favreau was asked what he thought of the fallout when he appeared at the D23 expo Friday.
If you haven’t already heard, Sony owns the licensing rights to the Spider-Man character, and the studio announced this week that it would be breaking off its partnership with Disney and Marvel Studios, so Peter Parker could potentially disappear from the Marvel Cinematic Universe. While there is still a chance talks between the two studios can continue, it seems that the future of the MCU will be minus Tom Holland’s Spidey.
Favreau has played Happy Hogan in the newest Spider-Man movies and he shared his optimistic thoughts about the negotiation breakdown:
“You never know what’s going to happen. I’m holding out hope and being optimistic that this isn’t the final chapter of that story between those characters. Because I would love to see them continue to share the screen together. And I don’t just mean Happy and Aunt May. I mean Tom Holland and Spidey and the other heroes from the MCU.”
I’ve been a stalwart defender of “real” cameras when it comes to shooting portraits. But a slew of phone cameras over the last few years have included portrait modes, and so has the time come to change perspectives?
Epic Games has showcased Project Spotlight, an Unreal Engine-powered way to capture real-time visual effects in-camera. The company has detailed the work in a new video showing off the system, including its ability to track the camera’s position in space in real-time for a realistic and customizable background.
Rather than filming in front of a blue or green screen for post-production later on, the Project Spotlight system enables filmmakers to shoot in front of LED walls showing the virtual environment in real-time. Creators can digitally manipulate this 3D virtual scene when necessary and the LED walls adjust the on-set lighting for realistic ambient light.
‘No matter what the project is,’ Lux Machina chief technology officer Philip Galler said, ‘creatives always want to see the closest representation to the final product as early on in the creative process [as possible].’
Experts featured in the video explain that because the virtual environment can be adjusted in real-time, the project saves critical time that may otherwise be wasted waiting for changes. As well, people from different departments can work together to determine how the virtual world is portrayed.
The technology was demonstrated at SIGGRAPH 2019 by Epic Games in partnership with Magnopus, Lux Machina, Quixel, Profile Studios, DP Matt Workman and ARRI. Future plans for the system are unclear at this time.
Police departments aren’t often accused of unethical Photoshop manipulation, but that’s the controversy that has erupted in Portland, Oregon. The police were discovered to have Photoshopped a suspects mugshot to make his face look more like the perpetrator in a bank robbery.
The Oregonian reports that after a series of four bank robberies, the Portland police arrested a man named Tyrone Lamont Allen in connection with the crimes.
Problem was, Allen’s face has prominent tattoos on his forehead and right cheek, but none of the bank tellers reported seeing tattoos on the face of the robber. What’s more, surveillance cameras didn’t catch any tattoos either.
Believing that Allen could have used makeup to cover up his tattoos, the police department made the decision to Photoshop Allen’s face and digitally erase all of his facial tattoos.
This decision was slammed in federal court last week by Allen’s lawyer, who argued that the Photoshopping allowed police to “rig the outcome” of the investigation, The Oregonian reports.
When police presented a photo lineup to bank tellers and asked them to identify the robber, some of them picked out Allen, but none of them were informed that Allen’s face had been manipulated.
“I basically painted over the tattoos,” police forensic criminalist Mark Weber testified in court. “Almost like applying electronic makeup.”
Changes made to the photo weren’t documented in any report, and Weber says he has altered other suspect photos in past photo lineups.
“The whole idea was to make Mr. Allen blend in – so his photo wouldn’t stand out,” says Assistant U.S. Attorney Paul Maloney in defense of the police department’s decision. “These procedures were prudent. They were appropriate.”
But as you might expect, others are incredulous at the idea of using Photoshop to alter a suspect’s face.
“It’s unbelievable to me that police would ignore the fact that no teller has described a person with glaring tattoos and make this man into a possible suspect by covering them up,” Temple University law professor and eyewitness testimony expert Jules Epstein tells The Oregonian. “They’re increasing the risk of mistaken identity.”
“This is a very, very slippery slope given the advent of technology,” says Allen’s lawyer Mark Ahlemeyer in asking the judge to toss the witness identifications. “We don’t know where this may end.
“It is hard to fathom any photo array conduct that is more ‘suggestive’ than altering a source photograph for the sole purpose of making the investigation target look more like the perpetrator.”
This case is now closely being watched, as the judge’s decision may have a wide-reaching effect on how police departments around the country handle suspect mugshots for photo lineups.
If you ask me, curved television sets are a little over the top. Unless you have a television the size of a movie screen, it just doesn’t make financial or practical sense to bend that screen. But when it comes to monitors a few feet from your eyes, Samsung’s CJ791 curved monitor really does make the difference.