“‘Chris,’ she said, ‘it’s about an order of nuns who’re protecting the world.’”
Tristan Whitman a specialist in tabletop cinematography, explains how he shot a campaign for Mattel’s Hot Wheels.
Director of photography John Christian Rosenlund has at least a three-decade history with director Bent Hamer. Their most recent collaboration, The Middle Man, depicts a town in the northern United States during a post-industrial depression. It’s perhaps not a subject instinctively associated with Rosenlund and Hamer’s Norwegian roots, though when we learn that the production is based on a book by Norwegian author Lars Saabye Christensen, the link becomes clear.
WXII, the NBC affiliate owned by Hearst Television serving North Carolina’s Greensboro/Winston-Salem/High Point market used almost 40 Brightline L1.2 and L1.4 LED SeriesONE studio light fixtures to light its new set.
Before pandemics and the downsizing at traditional, broadcast news operations, many news and non-fiction DOPs were already assuming a significant role in post-production. Whereas frame rates, f-stops, and the character of our lenses, once formed the backbone of our expertise and practice, DOPs in the non-theatrical realm increasingly find ourselves in a different kind of ditty bag, as correspondent, writer, director, and ersatz editor – all rolled into a one-person-can-do-anything-and-everything mode.
For a long time, selecting camera gear has been fairly easy. For twenty years, digital cinema cameras have never quite had everything we wanted, and the choice often boiled down to comparing the compromises. That’ll always be true to a degree, but for the last year or two it’s felt like we’re arriving somewhere. We can’t have anything, but we can have more than enough, and those compromises are boiling down to a zero-sum game.