Oscars cinematography award to be presented during toilet break, with adverts shown in its place

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Now, the Academy has been accused of a lot of things. Prejudices against black people. Prejudices against women.

Their latest decision shows they’re also seemingly prejudiced against cinematographers, film editors, short-film directors and make-up artists – all awards they have dumped to get the live TV ceremony under 3 hours. Or rather, to shove a few extra ad-breaks into the TV coverage.

Read moreOscars cinematography award to be presented during toilet break, with adverts shown in its place

RED cameras absent from all Oscar cinematography and best picture nominees

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SetLife Magazine (a recommended follow on Facebook) has compiled technical specification slates showing us who shot on what when it comes to the big 2014 Oscar nominees.

Interestingly Arri cameras still sweep the board. There are also nods to the Cinema EOS cameras and even the GoPro, but the really surprising thing is not a single one of the films were shot on RED.

Read moreRED cameras absent from all Oscar cinematography and best picture nominees

DJANGO UNCHAINED – Anamorphic is Tarantino’s preference – how DP Robert Richardson shot masterpiece ‘spaghetti southern’

Django Unchained - Tarantino, Richardson

Thanks to Volker for spotting the info. Image credits and further reading: Django Unchained / Robert Richardson at The American Cinematographer Magazine ~ Django Unchained echoes spaghetti westerns at Kodak camera and television

Learn the ropes and unholster your gun – The EOSHD Anamorphic Shooter’s Guide

I honestly can’t remember the last time I was so gripped by a mainstream piece of cinema. For the first half I had a permanent grin etched on my face for at least an hour, and for the second half I was on the edge of the seat with the kind of tension and sheer terror that you rarely see with the pacing of most mainstream movies – Ridley Scott did it with Alien and Tarantino’s completely mastered it here. The first act is like the journey of a roller coaster up the tracks and then for the 2nd half it comes rocketing down and you’re terrified.

Django Unchained is a towering achievement – and here’s how it was shot.

Read moreDJANGO UNCHAINED – Anamorphic is Tarantino’s preference – how DP Robert Richardson shot masterpiece ‘spaghetti southern’

Light for free using natural light sources

Lighting - Tokyo

Imagine if every photo was lit using a flash gun, well the same goes for cinematic scenes. Often some of the most interesting and varied light is already right in front of you. Not everything has to be studio light rig based.

I don’t think of ‘lighting a scene’ as always directly controlled, often it is wild. Lighting you can control is only half of the cinematographer’s job and so many films make use of the sun as a key light. Terrence Malick has based a career on magic hour light!

The world of natural light is expansive and varied. As someone who has chased light a lot with DSLRs, and avoided the expense, power requirements and weight of having to carry lights around with me, here are some of my tips for a successful natural light shoot.

Read moreLight for free using natural light sources