From the Field
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| The Company; from left to right: Michael Zimbrich (1st AD), Ben Nott (Cinematographer), Michael Carella (A Cam OP), Michael Salomon (Director) Photo: Jan Thijs © Turner Broadcasting 2006 |
Mikael Salomon, ASC -
Director of The Company and
The Andromeda Strain
“I'm very pleased with the final look of the six-hour miniseries The Company, which we shot in Canada, Hungary and Puerto Rico under very varied circumstances.”
“I've had questions from industry professionals asking how much was digital and how much was shot on film. Great surprise when they learn that it was all digital except for a few slo-mo shots - the film intercuts seamlessly with the digital images.”
“Ridley [Scott] asked me to direct another miniseries and we decided - once again - to go with the ARRI digital camera. We're currently shooting in the Vancouver and getting great feedback on dailies.”
“I've been fielding calls from DP's interested in using the ARRI digital camera system. As I tell them, the best recommendation is that I'm using it again!”
Production Stills from THE COMPANY, Photo left top: Jan Thijs © Turner Broadcasting 2006, all others © Sony Pictures TV
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| The Butcher's Shop; Cinematographer Sean Bobbitt, BSC, Photos: © Andy Subratie |
Sean Bobbitt, BSC -
Cinematographer on The Butcher’s Shop
“The fact that you can work in log space and use LUTs to see the image on monitors on set is fantastic. It gives the director such confidence”
“I’ve been shooting digital RAW with stills photography for some time and have recognised the clear benefits. It just seemed logical to me that this is the next step, in terms of pushing the camera to its limits and getting the best possible quality imaging straight off the chip itself - avoiding all the processing and compression.”
“In Data Mode you have the highest quality of information – not just resolution but color information as well – all the way through the workflow, so when you come to the grade you’re not working with degraded, compressed images, which for me have always been the biggest drawback of all the other HD formats.”
Production Stills from THE BUTCHER'S SHOP, Photos: © Andy Subratie
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| Sam Nicholson - Cinematographer and VFX Supervisor on VFX scenes for Grey's Anatomy Photos: © American Broadcasting Companies, Inc. |
Michael Coulter, BSC -
Cinematographer on The Bank Job
“After using the ARRI digital camera on The Bank Job, I was very pleased with the end result. I look forward to the future developments of this camera.”
Sam Nicholson -
Cinematographer and VFX Supervisor on VFX scenes for Grey’s Anatomy
“As predicted, it pulled the keys beautifully and the
cinematography looks great as well.”
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| Frequently Asked Questions About Time Travel; Cinematographer John Pardue |
John Pardue - Cinematographer on
Frequently Asked Questions
About Time Travel
“The camera is pretty much the same as a film camera in many ways: it has a great viewfinder and the same control panel as a 435. It’s also wonderfully simple to operate”.
“Another impressive aspect is the shallow depth-of-field, which is similar to 35 mm.”
“It copes with bright skies and allows you to open up for the shadow areas without the worry of blowing things out.”
Thomas Burstyn -
Cinematographer on Tin Man
“We were very pleased with the look - great saturation, incredible acutance and resolution.”
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| Production Still from Tin Man, Photo: © James Dittiger/SCI FI Channel |
Tin Man; Director Nick Willng (right), Cinematographer Thomas Burstyn (left), Photo: © James Dittiger/SCI FI Channel |
Ed Wild - Cinematographer on Prisoners of the Sun
“Because it's a full-sized chip and a PL mount, there is a full choice of all the film lenses.”
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Production Still from Prisoners of the Sun; |
Prisoners of the Sun; Cinematographer Ed Wild |
Frank Küpper - Cinematographer on Afrika, Mon Amour
“No grain, instant availability of full resolution images and a 35 mm look.”
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Afrika Mon Amour; Camera equipped with |
Afrika Mon Amour; Cinematographer Frank Küpper framing a detail shot, Photos: © Andras Berkl |
to be continued...