The set-up behind Doctor Strange’s leap through a hospital supply closet portal. For more on the movie’s visual effects wizardry, check out this host of interviews with the film’s effects crew over at Art of VFX.
A gallery of behind the scenes images from the first season of HBO’s Westworld, which was shot on Super 35mm with Arri film cameras, Cooke prime lenses, and Fujinon zooms.
To read more about the making of the sci/western hybrid, check out these features from Filmmaker Magazine, American Cinematographer Magazine, ICG Magazine, and Kodak. All the images are courtesy of these sources. Continue Reading ›
(Above, top – photo by David Friedman) On the set of Enter the Dragon (1973), cinematographer Gilbert Hubbs frames a handheld shot with the metallic claw of villain Shih Kien in the foreground during the climactic final showdown with Bruce Lee. Lee completed only four starring roles before his death at the age of 32 – with the posthumously released Enter the Dragon being the last.
The behind the scenes pic above comes from a photo spread on the website of American Cinematographer Magazine. You can also buy the 2013 issue of the magazine featuring an Enter the Dragon retrospective on the publication’s website for just $1.
For more in the Shot Behind the Shot series, click here.
(Above) Some wind sound effects go a long way in Ken Kwapis’ A Walk in the Woods (2015), helping transform a sunny spring day into a frigid wintry dusk.
For more in our Shot Behind the Shot series, click here.
(Above) The practical portion of one of Swiss Army Man’s many inventive effects that give superhuman powers to flatulent corpse Manny (Daniel Radcliffe). Here’s the film’s cinematographer Larkin Seiple on the various fake Radcliffes constructed for the movie, via an interview with Seiple I did for Filmmaker Magazine. Continue Reading ›
The set-up behind a shot in Jeff Nichols’ Midnight Special, lensed in 35mm with Panavision Millennium XL2 cameras and G Series anamorphic lenses. For more in the Shot Behind the Shot series, click here.
Setting the first 45 minutes of the Oscar-nominated drama Room in a 10-foot-by-10-foot shed necessitated the occasional cheat – such as above, where a section of the set’s floor was removed in order to get the Red Epic Dragon low enough for this over-the-shoulder reverse on Brie Larson.
Here’s Room director Lenny Abrahamson on the rules he and cinematographer Danny Cohen devised for the shed-set portion of the film:
“A rule we set for ourselves in shooting was that the lens of the camera would always be inside the boundaries of Room. The camera body might be behind the line of the wall (whether the wall was there or not) but the lens would be inside it. This was important in preserving the audience’s immersion in the world of Room, and in maintaining the sense of immediacy and intimacy that drives this section of the film. We could have cheated, but I’m certain something would have been lost.”
Read the rest of Abrahamson’s self-penned thoughts on Room here. Or check out this interview I did with Cohen for MovieMaker in which the British DP breaks down shots from Room, The Danish Girl, and The Program.