Tt Seanwalker Cv

Total Page:16

File Type:pdf, Size:1020Kb

Tt Seanwalker Cv S E A N W A L K E R [ 2020 - TOP TECHS MANAGEMENT ] [email protected] +61 (0) 412 305527 https://www.imdb.com/name/nm3254393/ BIO Working as a bilingual camera assistant in Tokyo segued into a decade of technician roles on large scale feature films including ‘Mad Max: Fury Road’, ‘Mission Impossible: Rogue Nation’, ‘Rogue One’ and ‘Solo – A Star Wars Story’. My ambition is to assist in the development of uniquely Australian stories and utilise my bilingual and international production background to support a new generation of productions punch above their weight. SELECTED FILMOGRAPHY Video Operator, Main Unit ——-———————————————— 2018 ‘SOLO - A Star Wars Story’ DIR: Ron Howard DP: Bradford Young ASC Video Operator ——-———————————————-——————— — 2017 ‘MARY MAGDALENE’ DIR: Garth Davis DP: Greig Fraser ASC, ACS Video Operator————————————————————————— 2017‘T2: TRAINSPOTTING 2’ DIR: Danny Boyle DP: Anthony Dod Mantle DFF, BSC, ASC Video Assistant, Main Unit —————————————————2016 ‘STAR WARS: ROGUE ONE’ DIR: Gareth Edwards DP: Greig Fraser ASC, ACS Video Operator, VFX UNIT ———————-———-———————————————2015 ‘SPECTRE’ DIR: Sam Mendes DP: Peter Talbot BSC Onset Video Assist, Main Unit—————————2014 ‘MISSION IMPOSSIBLE: ROGUE NATION’ DIR: Chris McQuarrie DP: Robert Elswit ASC Onset Video Assist, ————————————————————2012 ‘THE WOLVERINE’ DIR: David Leitch (2ND UNIT) DP: Brad Shield ACS Onset Video Assist, Main Unit —————————————————2012 ‘MAD MAX: FURY ROAD’ DIR: George Miller DP: John Seale ACS, ASC Onset Video Assist, Main Unit ——————————————————2011 ‘THE GREAT GATSBY’ DIR: Baz Luhrmann DP: Simon Duggan ACS EQUIPMENT Qtake HD x2 Module 1(w/ MD Quad), Digital Composite, Mix & Overlay FCP X Module 2, Edit & Sound Mixing, Resolve + Teradek Colr Duo x2 Pix 240i x2 TV Logic XVM-245W 24″ Monitors x2 SmallHD 1303HDR 27″ HP Dreamcolor x2 Small HD DP7 HB Directors Hand Held Ghosteye Wireless 300 TX x1 RX x2 Honda 2K Generator Van: Sprinter High Roof ADDITIONAL FILMOGRAPHY 2020 VIDEO OPERATOR ‘Blaze’ DIR: Del Barton, DP: Jeremy Rouse ACS 2018 DIT, ACTION UNIT ‘The Whistleblower’ DIR: Chris Anderson, DP: Mark Wareham ACS 2015 ONSET VIDEO/DIT ‘Florence Foster Jenkins’ DIR: Stephen Frears, DP: Danny Cohen BSC 2014 ONSET VIDEO/DIT ‘Legend’ DIR: Brian Helgeland, DP Dick Pope BSC TVC VTR OPERATOR: Sweet Shop ‘Comm Bank ’ DIR: Campbell Hooper VTR OPERATOR: Pool Production ‘TAB’ DIR: Ingvar Kenne VTR OPERATOR: Goodoil ‘Uber Eats France ’ DIR: Adam Stevens VTR OPERATOR: Velvet ‘Peters Connoisseur ’ DIR/DP: Jeffrey Darling VTR SUBHIRE: Goodoil ‘Lexus UX’ DIR: Joel Kefali, DP Germain McMicking VTR SUBHIRE: Goodoil ‘Jim Beam: I’m Eugene’ DIR: Adam Stevens, DP John Toon JAPAN BILINGUAL 2ND AC: Suntory Boss, DP: Mikia Takimoto - BILINGUAL 2ND AC: Intel, DP Mikia Takimoto BILINGUAL 2ND AC: Softbank Disney, DP: Pascal Lebegue .
Recommended publications
  • The Revenant Nominations List Achievement in Cinematography 1
    The Revenant nominations list Achievement in cinematography 1 Achievement in costume design 2 Achievement in directing 3 Achievement in film editing 4 Achievement in makeup and hairstyling 5 Achievement in production design 6 Achievement in sound editing 7 Achievement in sound mixing 8 Achievement in visual effects 9 Best motion picture of the year 10 Performance by an actor in a leading role 11 Performance by an actor in a supporting role 12 Oscars® 2016 Movie Checklist 13 Academy of Motion Picture Arts and Sciences Page 1 1. NOMINATIONS BY CATEGORY - 88TH AWARDS Performance by an actor in a leading role Bryan Cranston in “Trumbo” (Bleecker Street) Matt Damon in “The Martian” (20th Century Fox) Leonardo DiCaprio in “The Revenant” (20th Century Fox) Michael Fassbender in “Steve Jobs” (Universal) Eddie Redmayne in “The Danish Girl” (Focus Features) Performance by an actor in a supporting role Christian Bale in “The Big Short” (Paramount) Tom Hardy in “The Revenant” (20th Century Fox) Mark Ruffalo in “Spotlight” (Open Road Films) Mark Rylance in “Bridge of Spies” (Walt Disney and 20th Century Fox) Sylvester Stallone in “Creed” (Warner Bros.) Performance by an actress in a leading role Cate Blanchett in “Carol” (The Weinstein Company) Brie Larson in “Room” (A24) Jennifer Lawrence in “Joy” (20th Century Fox) Charlotte Rampling in “45 Years” (Sundance Selects) Saoirse Ronan in “Brooklyn” (Fox Searchlight) Performance by an actress in a supporting role Jennifer Jason Leigh in “The Hateful Eight” (The Weinstein Company) Rooney Mara in “Carol” (The Weinstein Company) Rachel McAdams in “Spotlight” (Open Road Films) Alicia Vikander in “The Danish Girl” (Focus Features) Kate Winslet in “Steve Jobs” (Universal) Academy of Motion Picture Arts and Sciences PagePage 2 2.
    [Show full text]
  • Katalog Dwa Brzegi 2009:Layout 1.Qxd
    katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 1 katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 2 Sponsor Generalny Sponsorzy Oficjalny Oficjalny Hotel Samochód Festiwalu Festiwalu PRZYJACIELE FESTIWALU Partnerzy 2 FRIENDS FESTIVAL’S Organizatorzy Kazimierz Dolny Patronat Medialny katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 3 FILM AND ART FESTIVAL TWO RIVERSIDES Kazimierz Dolny Janowiec n/ Wisłą Festiwal Filmu i Sztuki DWA BRZEGI katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 4 katalog_dwa_brzegi_2009:Layout 1 2009-07-24 08:11 Strona 5 Spis treści | Content Przyjaciele Festiwalu | Festival’s Friends 2 Kto jest kto | Who Is Who 6 Wstęp | Foreword 9 FILM Świat pod namiotem | World Under Canvas 12 Dokument | Documentary 30 Na krótką metę | In the Short Run 38 Serial animowany | Animated Series 78 Na krótką metę na Zamku w Janowcu | In the Short Run (Screenings In the Castle in Janowiec) 80 Muzyka, moja miłość | Music My Love 84 Pokaz specjalny | Special Screening 90 Krystyna Janda. I Bóg stworzył aktorkę | And the God Created an Actress 92 Kocham kino | I Love Cinema 98 Wielkie kino na Małym Rynku | Great Cinema on Small Market Square 106 Retrospektywa Pawła Kłuszancewa | Retrospective of Pawel Klushantsev 112 W hołdzie Janowi Machulskiemu | Tribute to Jan Machulski 120 Dzień z Piotrem Szulkinem | A Day with Piotr Szulkin 122 Krótka retrospektywa Bruno Baretto | A Short Retrospective of Bruno Baretto 126 Lekcje kina | Cinema Lessons 128 Video • 130 TEATR | THEATRE CONTENT Krystyna Janda. I Bóg stworzył
    [Show full text]
  • Tom Kerwick Key Grip
    Tom Kerwick Key Grip ----------------------------------------------------------------------------------------- 122 Stethem Dr. Centereach, NY 11720 516-662-7655 E-mail: [email protected] Qualifications: 30 years experience as grip on motion pictures, Episodic TV, and commercials. Member of Local 52 IATSE Work History: Criminal Justice (2012) Key Grip Director: Steven Zaillian Director of Photography: Robert Elswit Gotham (2012) Key Grip Director: Francis Lawrence Director of Photography: Jo Willems The Avengers (2011) Key Grip NY Director: Joss Whedon Director of Photography: Seamus McGarvey Lola Versus (2011) Key Grip Director: Daryl Wein Director of Photography: Jakob Ihre Being Flynn (2011) Key Grip Director: Paul Weitz Director of Photography: Declan Quinn We need To talk about Kevin (2010) Key Grip Director: Lynne Ramsay Director of Photography: Seamus McGarvey The Beautiful Life - TV Series(2009) Key Grip Directors: various Director of Photography: Craig DiBona Twelve (2009) Key Grip Director: Joel Schummacher Director of Photography: Steve Fierberg Everyday (2009) Key Grip Director: Richard Levine Director of Photography: Nancy Schreiber Private Lives of Pippa Lee (2008) Key Grip Director: Rebecca Miller Director of Photography: Declan Quinn Rock On (2008) Key Grip NY Director: Todd Graff Director of Photography: Eric Steelberg For One More Day (2007) Key Grip Director: Lloyd Kramer Director of Photography: Tami Reiker Babylon Fields- TV (2007) Key Grip Director: Michael Cuesta Director of Photography: Romeo Tirone The Bronx is
    [Show full text]
  • ASC 100Th Reel 30-Second
    E.T.: The Extra- John Seale, ASC, ACS Terrestrial (1982) Allen Daviau, ASC Enter the Dragon (1973) The Gold Rush (1925) Gil Hubbs, ASC Roland Totheroh, ASC The Godfather (1972) Citizen Kane (1941) Gordon Willis, ASC Gregg Toland, ASC ASC 100th Reel 30-Second The Tree of Life (2011) Apocalypse Now (1979) Clip Playlist Emmanuel Lubezki, ASC, Vittorio Storaro, ASC, AIC AMC The Dark Knight (2008) Link to Video here. Taxi Driver (1976) Wally Pfister, ASC Michael Chapman, ASC Close Encounters of the Kill Bill Vol. 1 (2003) Third Kind (1977) The Matrix (1999) Robert Richardson, ASC Vilmos Zsigmond, ASC, Bill Pope, ASC HSC King Kong (1933) Jurassic Park (1993) Edward Linden; J.O. Blade Runner 2049 Dead Cundey, ASC Taylor, ASC; Vernon L. (2017) Walker, ASC Roger Deakins, ASC, BSC Braveheart (1995) John Toll, ASC Star Trek (1966) Gone With the Wind "Where No Man Has (1939) The French Connection Gone Before" Ernest Haller, ASC (1971) Ernest Haller, ASC Owen Roizman, ASC Sunrise (1927) Footloose (2011) Charles Rosher, ASC Game of Thrones (2017) Amy Vincent, ASC Karl Struss, ASC “Dragonstone” Gregory Middleton, ASC Sunset Boulevard (1950) Titanic (1998) John F. Seitz, ASC Russell Carpenter, ASC The Sound of Music (1965) Psycho (1960) The Graduate (1967) Ted D. McCord, ASC John L. Russell, ASC Robert Surtees, ASC The Wizard of Oz (1939) For more background Singin’ in the Rain (1952) Harold Rosson, ASC on the American Harold Rosson, ASC Society of Rocky (1976) Cinematographers, The Color Purple (1985) James Crabe, ASC go to theasc.com. Allen Daviau, ASC Frankenstein (1931) Empire of the Sun (1987) Arthur Edeson, ASC Allen Daviau, ASC Platoon (1986) Black Panther (2018) Robert Richardson, ASC Rachel Morrison, ASC Mad Max: Fury Road (2015) .
    [Show full text]
  • Friendly Fire, It's Only Natural to Pranica Praise Its Director the Most
    Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Music Music Tense string music. 00:00:01 Adam Host When we watch a great film on Friendly Fire, it's only natural to Pranica praise its director the most. It's easy to do, and every critic does it, from the film reviewers in the newspaper to the Academy of Motion Picture Arts and Sciences. But you and I, and those same directors, all know that it takes a video village to bring a film from the page to the screen to the stage accepting an award. Personally, I think it's the editors that get the shortest shrift in these cases. But the person who's often just as responsible as a director for how a film looks and feels is the cinematographer. Which is what makes the partnership between they and the director so crucial in filmmaking. If a director is lucky, they form a bond with one for most of their oeuvre. Paul Thomas Anderson and Robert Elswit. Spielberg and Janusz Kamiński. Christopher Nolan and Wally Pfister. And sometimes you'll get some cinematography polyamory. Oliver Stone, Quentin Tarantino, and Martin Scorsese share Robert Richardson. Of course a counterpoint to this film paper is that Kathryn Bigelow has worked with many different cinematographers over the years. Roger Deakins, on camera for Sam Mendes's 1917, is widely considered to be one of the greatest and most influential cinematographers in the history of film.
    [Show full text]
  • Foxcatcher Directed by Bennett Miller
    Sony Pictures Classics Presents An Annapurna Pictures Production Foxcatcher Directed by Bennett Miller Cannes Film Festival 2014 Telluride Film Festival 2014 Toronto International Film Festival 2014 New York Film Festival 2014 Winner - Best Director, Cannes Film Festival 2014 134 mins | Rated R | Opens 11/14/14 (NY/LA) East Coast Publicity West Coast Publicity Distributor 42West Block Korenbrot Sony Pictures Classics Scott Feinstein Max Buschman Carmelo Pirrone 220 West 42nd Street Blair Bender Maya Anand 12th floor 6100 Wilshire Blvd., 550 Madison Ave New York, NY 10036 Ste. 170 New York, NY 10022 212-277-7555 Los Angeles, CA 90048 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax FOXCATCHER The Cast John du Pont STEVE CARELL Mark Schultz CHANNING TATUM Dave Schultz MARK RUFFALO Jean du Pont VANESSA REDGRAVE Nancy Schultz SIENNA MILLER Jack ANTHONY MICHAEL HALL Henry Beck GUY BOYD Documentary Filmmaker DAVE “DOC” BENNETT The Filmmakers Director BENNETT MILLER Written by E. MAX FRYE DAN FUTTERMAN Producers MEGAN ELLISON BENNETT MILLER JON KILIK ANTHONY BREGMAN Executive Producers CHELSEA BARNARD RON SCHMIDT MARK BAKSHI MICHAEL COLEMAN TOM HELLER JOHN P. GUIRA Co-Producer SCOTT ROBERTSON Director of Photography GREIG FRASER Production Designer JESS GONCHOR Editor STUART LEVY CONOR O’NEILL JAY CASSIDY Costume Designer KASIA MAIMONE WALICKA Music ROB SIMONSEN Additional Music WEST DYLAN THORDSON Valley Forge Theme MYCHAEL DANNA Casting Director JEANNE McCARTHY Makeup Designer BILL CORSO Hair Department Head KATHRINE GORDON Wrestling Coordinator JOHN GUIRA Wrestling Choreographer JESSE JANTZEN 2 FOXCATCHER Synopsis Based on true events, FOXCATCHER tells the dark and fascinating story of the unlikely and ultimately tragic relationship between an eccentric multi-millionaire and two champion wrestlers.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • British Society of Cinematographers
    Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC
    [Show full text]
  • Robert Elswit Interview.Edits
    Summer on the Mountain An Interview with Cinematographer Robert Elswit By Bridgette Bates In the words of Sundance Institute's Executive Director Ken Brecher, "One can learn to love eating in a tent." Tent dining is a quintessential experience of the Sundance Labs where Lab Fellows and Creative Advisors gather in the mountains of Utah each summer for what participants have affectionately called summer camp for artists. During this past June, the Feature Film Program under the direction of Michelle Satter hosted the Directors Lab, which offers eight filmmakers the supportive environment to develop new work under the supervision of experts in the field. The Insider sat down in the dining tent with a rogue chipmunk and Academy-Award winning cinematographer Robert Elswit to talk about his role as a Creative Advisor in this landscape of fresh air and fresh perspective. Some of Elswit's most recent DP work includes: There Will Be Blood, Michael Clayton, Syriana, Good Night and Good Luck, Punch Drunk Love, Magnolia, and Boogie Nights. Insider: From a Creative Advisor's perspective what is like working with the filmmakers at the Directors Lab? RE: I love coming here because of all the things the Fellows deal with when they start working on a project. All the basic elements that they are coming to grips with in terms of narrative filmmaking and storytelling; it reconnects me with basic stuff. Yet at the same time because the projects are so unusual and so varied and the people that they pick to come up here are so bright, I learn more in the Advisors meetings and interacting on sets than I do in three or four years of going from movie to movie.
    [Show full text]
  • ERIK MESSERSCHMIDT, ASC Director of Photography
    ERIK MESSERSCHMIDT, ASC Director of Photography official website TELEVISION (partial list) RAISED BY WOLVES HBO Max EP: Ridley Scott (Episodes 105, 106, 109) FARGO (Season 5, 1 Episode) FX Dir: Dana Gonzales *MINDHUNTER (Seasons 1-2) Netflix Creator: David Fincher Trailer LEGION (Episodes 209, 308) FX Dir: Dana Gonzales *2020 Emmy Award Nominee – Outstanding Cinematography for a Single-Camera Series (One Hour) – Ep. 206 FEATURES (partial list) DEVOTION Black Label Media Dir: J.D. Dillard *MANK Netflix Dir: David Fincher **IN A DREAM (Documentary) IFC Dir: Jeremiah Zagar *2021 Academy Award Winner – Best Achievement in Cinematography *2021 ASC Award Winner – Outstanding Cinematography in a Feature Film *2021 BSC Award Winner – Best Cinematography in a Theatrical Feature Release *2021 BAFTA Award Nominee – Best Cinematography *2021 San Francisco Bay Area Film Critics Circle Award Nominee – Best Cinematography *2021 Broadcast Film Critics Association - Critics Choice Award Nominee – Best Cinematography *2021 Alliance of Women Film Journalists - EDA Award Nominee – Best Cinematography **2009 Camerimage Award Nominee – Golden Frog BIO Director of photography Erik Messerschmidt, ASC has a natural eye for arresting and spellbinding images, thriving in a role that allows him to combine his love of art, craft and science. He shot David Fincher’s passion project Mank in black and white, chronicling the screenwriter Herman Mankiewicz’s turbulent journey to write Citizen Kane alongside Orson Welles. Messerschmidt’s meticulous and striking recreation of the period’s aesthetic earned him the Academy Award for Best Cinematography, an ASC Award for Outstanding Cinematography in a Feature Film, a BSC Award for Best Cinematography in a Theatrical Feature Release, a BAFTA Award nomination for Best Cinematography, as well as Best Cinematography award nominations from the San Francisco Bay Area Film Critics Circle, the Broadcast Film Critics Association Critics Choice, and the Alliance of Women Film Journalists.
    [Show full text]
  • Arri Rental's Alexa 65 Camera System Gains Wide
    Contact: ARRI Rental US Brigitte Wehner +1 212 757 0906 (office) [email protected] ARRI Rental UK Michelle Smith +44 1895 457 100 (office) [email protected] ARRI Rental Germany Andrea Rosenwirth +49 89 3809 1240 (office) [email protected] FOR IMMEDIATE RELEASE ARRI RENTAL’S ALEXA 65 CAMERA SYSTEM GAINS WIDE POPULARITY AND NEW FUNCTIONALITY (IBC 2015, Amsterdam) – Top cinematographers are taking advantage of the ALEXA 65’s exceptional image quality for major feature films, while updates are announced that will extend the capabilities and appeal of the system still further. Offering a complete large-format solution for high-end motion pictures, the ALEXA 65 system comprises a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. Interest in the system has spread rapidly, with leading filmmakers pressing to use it on major feature films and IMAX announcing that it has selected the ALEXA 65 platform as its digital option for 2D IMAX productions. Available exclusively through ARRI Rental, the ALEXA 65 has already been supplied to numerous high-profile projects, some using it as the main unit camera throughout production and others using it as a specialist camera for sequences that require extreme levels of image quality. Rogue One: A Star Wars Story, shot by Greig Fraser ACS, ASC, has been utilizing the ALEXA 65 as its main unit A, B and C-cameras. Before that, Stuart Dryburgh ASC, NZCS captured with ALEXA 65 on The Great Wall, using it as his A and B-cameras on main unit. The first production to use the ALEXA 65 and to hit theaters was Mission: Impossible – Rogue Nation.
    [Show full text]
  • Circ Cine Ve 03-2006
    (r.e.) Che ne sarà di Venezia? Nei giorni in cui Veltroni e i suoi sodali illustravano l’allettante menù della prossima Festa romana del cinema, in programma ad ottobre, un provvidenziale torrente di nominations all’Oscar, piovute sui film del- l’edizione 2005, consentiva ai vertici della Fondazione veneziana di tirare un sospiro di sollievo. Del tipo: visto che la qua- lità paga? Che Venezia è sempre Venezia? Che l’arte siamo noi? È oltretutto ben possibile che le candidature vadano a tra- mutarsi in un profluvio di belle statuine, consegnando la competizione lidense ai fasti della Serenissima (Mostra) Trionfante. Bene, benissimo, anzi male, perché la più che legittima (e comprensibile, e condivisibile) soddisfazione per l’auspicato successo dei vari Brokeback Mountain, Good Night, and Good Luck!, Bestia nel cuore potrebbe dar luogo ad un entusiasmo, come dire, fuorviante. In che senso? Ma nel senso che con o senza i prestigiosi riconoscimenti dell’Academy Awards i problemi di Venezia, anche alla luce della concorrenza romana, rimangono. E non paiono risol- vibili d’ufficio con presunti schematismi estetici vecchi già ai tempi del buon Chiarini e magari indigesti allo stesso Marco Müller (l’arte di qua, la merce di là: e il fascinoso trash dove lo mettiamo?), con il ricorso a longevità anagrafiche che sem- mai dovrebbero preoccupare (il primo festival, certo, ma anche il più vecchio), con fughe progettuali in avanti tanto ecu- menicamente condivise quanto finanziariamente improbabili e, qualora possibili, comunque opinabili (il nuovo
    [Show full text]