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Cinematography

Capturing Live Events

super_bowl_2013_p3 The live broadcast of a major sports event can provide plenty of technical and creative challenges. And when the event is as high profile as the Super Bowl, which combines a football game, a half-time show worthy of Broadway, and an audience of hundreds of millions, the stakes are even higher. To prepare for the Super Bowl’s expansive broadcast schedule and telecast from New Orleans, several networks turned to broadcast equipment rental company Bexel to handle their on-site production needs and fiber infrastructure.
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Extreme Filming in the Himalayas

 

 
pad-yatra-6_smDedicated filmmakers will stop at nothing to tell their story, especially if it brings attention to topics that are of significant importance. Such is the case for Los Angeles-based Writer/Director/Producer Wendy J.N. Lee, who shines a spotlight on the environmental issues that have plagued the Himalayas. Lee has an MFA in Film Production from USC School of Cinematic Arts, and she has volunteered to assist non-profit organizations in the Himalayas, where she became aware of the rise in plastic waste. With no viable recycling or trash disposal system in the area, there was a sudden peak in polluted and poisoned water sources along the glacial melting routes, which provides fresh water for half of the world’s population.
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Claudio Miranda, ASC on Shooting Oblivion

oblivion_smWinner of the 2013 Academy Award for Best Cinematography on Ang Lee’s Life of Pi, Cinematographer Claudio Miranda, ASC recently attended the NAB Show in Las Vegas, Nev. to discuss the breakthrough technology he used on the upcoming sci-fi epic Oblivion, starring Tom Cruise and Morgan Freeman. The DP appeared at a Sony press conference and did a panel discussion moderated by Cinematographer and Film and Digital Times Publisher/Editor Jon Fauer, ASC.
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Capturing Live Events

super_bowl_2013_p3 The live broadcast of a major sports event can provide plenty of technical and creative challenges. And when the event is as high profile as the Super Bowl, which combines a football game, a half-time show worthy of Broadway, and an audience of hundreds of millions, the stakes are even higher. To prepare for the Super Bowl’s expansive broadcast schedule and telecast from New Orleans, several networks turned to broadcast equipment rental company Bexel to handle their on-site production needs and fiber infrastructure.
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Capturing 4K in the Field

At the recent NAB Show 2012, 4K was unquestionably the hottest new thing, at least in terms of field production and acquisition in particular. Several camera makers, such as Canon, JVC, RED Digital and Sony, introduced new 4K cameras and refined versions of previously introduced 4K cameras. For the first time, a few of these 4K cameras were priced under $10K, which is far below the previous benchmarks. These cameras include the RED SCARLET X, Sony FS700 and JVC GY-HMQ10. And while the RED and Sony 4K cameras are priced at nearly $10K, JVC’s is barely half that price. The key underlying question is whether bringing the cost of 4K acquisition within the price range of a much larger cross-section of the production community will trigger a major shift to 4K acquisition across the board, despite the fact that there’s currently a very limited demand for 4K content, even for the cinema.

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