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Schneider-Kreuznach Advertisement Feature SCHNEIDER-KREUZNACH ADVERTISEMENT FEATURE Starring role Crescenzo Notarile decided to boldly go for Schneider-Kreuznach True-Streak filters when shooting a legendary sci-fi TV series hen a top Hollywood filmmaker calls his filters his “cinematographic brush” that he uses on many high- budgetW productions, you know they offer something very special. When Crescenzo Notarile landed the dream job of shooting the Star Trek: Discovery TV series, he knew he could rely on his trusty set of Schneider- Kreuznach True-Streak filters to make something that would live long and prosper. “Like a painter constructs his strokes of IMAGE Notarile on-set paint with the bristles of his brush, I like to using a Schneider- think in the same way by constructing the Kreuznach True-Streak strokes of light via certain filters,” he says. filter – a winner in our With an incredible back catalogue of Gear of the Year Awards work that includes TV and movie projects like Crazy and Timecop, plus music videos for the likes of Michael Jackson, Pink Floyd Carr, and lots of LED lights programmed lenses gives the ultimate in long flares. It’s and ZZ Top, Notarile has the eye to pick into a dimmer board with hundreds of a look that also works very well on standard equipment that allows him to put his own channels individually available to fine-tune lenses, giving an anamorphic-style look. creative stamp on his projects. the look. It’s no surprise they were voted as best Lens “I previously used the True-Streak “Each set cost hundreds of thousands of Accessory in the Pro Moviemaker Gear of the filters on a show I did calledCSI: Crime dollars, some cost millions, and took many Year Awards. Nothing highly illogical there. Scene Investigation,” he explains. “Working months to design and construct. Each had “I love these filters because I love the in the CSI laboratory with all the layers its own intricate lighting designs.” energy of light. I love when light refracts, of glass and forensic lights truly was One of the key looks many sci-fi films flares and dances across the coatings of the calling for these filters. It became my use is the unique results you get from lens,” says Notarile. “To me, this is the art signature look. anamorphic lenses, with the trademark long of what we do – provide visual stimuli.” “I then brought this approach to my flares. It’s no surprise Notarile chose Cooke The next chapter in Notarile’s career is next show, called Gotham. We were often SF anamorphic lenses. “When I got a call to to make Star Trek: Picard, with Sir Patrick shooting at night in dark alleys and the do a sci-fi show, the first thing that came to Stewart. “This show is very different Gotham detectives would often pull out mind was explosions and flares of light. You as Picard is much more introverted their flashlights to see where they were are in darkness in outer space, and when the and cerebral, where Discovery is visual going. To see a flare of light explode across sun rakes in, it explodes with energy. testosterone! So I am currently thinking this dirty landscape frame, via a True- “So we used the Cooke Special Flaring very carefully about this visual approach Streak filter, always gave me a lift! It’s lenses, as we wanted to embrace flaring to this show,” says Notarile. “I’m sure exciting to see energy from light dance and I enhanced this with the Schneider Schneider optics will be in my tool kit, across your frame!” True-Streak filters,” he says. “I love these no matter what.” When it came to shooting Star Trek: filters and carry them in my personal kit Discovery, Notarile worked with legendary wherever I go. I have a range of colours: names like fellow DOP Glen Keenan, blue, green, orange and clear. Depending on Star Trek visionary Alex Kurtzman and the emotion of the scene, and of course the producing director, Olatunde Osunsanmi. lighting, I choose the colour carefully, so And of course, Notarile had all the very it subconsciously works without standing best equipment at his disposal. He used out as indulgent. The trick is to do this with up to five Arri Alexa SXTs, two huge integrity, not taking away from story.” More information Technocranes, two Steadicams worked by Using Schneider-Kreuznach True-Streak schneiderkreuznach.com experts François Daignault and Michael filters on already flare-prone anamorphic crescenzonotarile.com SPRING 2020 PRO MOVIEMAKER 31.
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