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Allowing one actor to play two roles in the same scene has been possible, at some level, at least since 1961’s The Parent Trap, in which one of Hayley Mills’ arms disappears visibly behind a soft-edged split screen. To put it mildly, techniques have improved, but keeping the necessary technology out of the way of a director whose tastes run to very freeform moviemaking is a challenge in itself.
When it came time to select lenses for the Lookout Point’s six-episode series of Vikram Seth’s bestselling novel A Suitable Boy, DP Declan Quinn knew exactly what he wanted: Cooke Optics’ flagship spherical S4/i primes.
It’d be easy to think that when Bryce Bayer’s name appeared on the Kodak patent for single-sensor color cameras in 1976, it was a new idea. Sufficiently new to be patentable, perhaps, but actually the idea of covering a sensor with a pattern of primary-colored filters goes back to the earliest days of color photography.
With Blackmagic recently introducing a new 12K camcorder, the question arises (once again) how much resolution is enough. After all, even the most fervent resolution junkie would have to agree there is a practical upper limit to resolution and how much is actually discernible and worthwhile.
Often, performers at a strip club are fleeting characters in a film or television production, sometimes reduced almost to the level of production design. P-Valley, produced for Starz by Chernin Entertainment, is based on Katori Hall’s stage play Pussy Valley, and defies that expectation by concentrating on the lives of the people who put on the show.
Cinematographer Isaac Vila, used Cooke S7/i Full Frame Plus lenses for the 8-episode mini-series “The Mess You Leave Behind”, one of the latest Netflix Spanish Originals.