Last summer, I spoke to Daryn Okada, ASC, about his cinematography on the short film Emma, a thriller directed by Howard Lukk that was designed to gauge the potential of high-dynamic-range imaging, or HDRI. I recently reconnected with Daryn to find out whether there had been any surprises in the postproduction and screening stages of the project, which premiered at SMPTE’s Hollywood Symposium in the fall. His answer was yes.
Stijn van der Veken, ASC, SBC, is one of two ASC members who are also members of the Belgian Society of Cinematographers. Willy Kurant, ASC, is an honorary member of the SBC, which was founded in 1993 with the help and encouragement of Luciano Tovoli, ASC, AIC, and Pierre Lhomme, AFC. That’s fine company, indeed.
I spoke to Gabriel Beristain, ASC, BSC, recently about his work on Marvel’s period TV series Agent Carter, and that sparked an interesting conversation about the evolution of filmmaking technology. Gabriel is using a combination of the latest digital technologies and analog techniques to achieve a look that harks back to the late 1940s — or at least to the movies that shaped our idea of how that period looked. The production design, color palette and the design of the visual effects all contribute mightily, of course.
When I saw Jerzy Zielinski, ASC, PSC, at Camerimage in Poland, he was taking a short break from the editing room in Warsaw, where he was assembling his feature-directing debut. The film is titled King of Life, and Jerzy hopes to have the project locked in time to attend the ASC Awards in Los Angeles next month.