Cinematografie

This week we welcome Lawrence Sher to the channel. He talks to us about filming Joker. What made the style? What challenges did they face? What were some unique scenarios?

n this weeks episode Dan Mindel talks to us about Star Wars: The Force Awakens. How were the lightsaber fights executed? How did ILM create the stunning visual effects? What approach was taken in lighting the set? How did concept art influence the film?

In this weeks episode we get some brilliant lighting tips form Gaffer Julian White. He talks about techniques he used on Murder on the Orient Express. He explains how we should light night scenes and much more.

In this weeks episode Robert Yeoman talks to us about working with Wes Anderson. What are the different processes to creating the image? What is it like working with Wes compared with actors improvising scenes?

In this episode Ben Davis talks us about his philosophy of filming. He discusses what he wants to convey in his cinematography and how the relationship with the director affects the approach.

In this episode we talk to Rodrigo Gutierrez and Peter Robertson. Two highly experienced camera operators about their craft and what is expected of them on set.

COTV presents an exclusive behind the scenes look at Pixar’s Onward. In this episode, Pixar cinematographers Adam Habib and Sharon Calahan give us an insight into the minds of the Camera and Lighting DP’s (Director of Photography).

They deconstruct two scenes from the film and discuss their artistic approach to the film, including how they work with different light sources, choose virtual lenses and construct camera movement. Cooke Optics TV travelled to the Pixar HQ in California to interview key members of their team and film exclusive content that explores the history of cinematography at Pixar.

This week we welcome Sudeep Chatterjee to the channel. He takes us through his experience with Bollywood films. How do you shoot a Bollywood song and dance sequence? He tells us about the use of fire and how can be replicated with flicker boxes, but is it as good as the real thing?

Following his previous COTV Masterclass 'Deconstructing Film Lighting' we welcome gaffer Julian White back to the channel. In this episode, he examines how different types of diffusion (silk, cloth, plastic) influence lighting decisions on a film set. He explains how these different sources of diffusion and light effect colour temperature and what he does to work with this.

In this COTV Episode, we welcome Seamus McGarvey back to the channel to discuss how production design influences his work as a cinematographer. He draws upon examples from his various films to illustrate how to evoke period/time changes, orchestrate actor choreography/blocking and ultimately tell the story.

Dan Mindel is a frequent collaborator of JJ Abrams and helped reboot the Star Wars franchise. In this episode, he discusses the various lighting techniques he has harnessed over the years, working with different lighting fixtures (including LED's) and integrating them into the film set.

Peter Robertson is one of the world's most distinguished Steadicam operators, receiving the 'historical shot' award for the Dunkirk Beach steadicam sequence on “Atonement”. In this episode, he discusses his philosophy behind what makes a successful steadicam shot and when to use it effectively.

Cinematographer Ernest Dickerson on making Do The Right Thing.

Cinematographer Billy Williams shares his experience of working with directors such as John Schlesinger (Midnight Cowboy, Marathon Man) and Ken Russell (The Devils, Tommy). He explains the importance of visual directors and story/performance related directors.

‘Orange is the New Black,’ ‘Dark Waters,’ and ‘John Wick: Chapter 3 – Parabellum' camera operator, Oliver Cary, breaks down a movie scene camera angle by camera angle and demonstrates ways to film a scene using a rack focus, dollying in vs. zooming in, and changing the lens.

A video celebrating the 45th anniversary of the musical comedy-horror The Rocky Horror Picture Show. COTV interviewed the cinematographer and art director of the film to gain an insight into how they crafted the 1975 cult smash hit.

Valt wel wat mee, ik zie allerlei nationaliteiten.

Haha ja, maar ze heten dan ook The American Society of Cinematographers.

Het is de bedoeling dat je ook de tekst leest voordat je de lijst induikt.