When I set out to launch my new talk show “MIND & MACHINE: Discussion the Future”, everyone said make it cheap and fast — it’s challenging to sustain a weekly production series as long as necessary to build a successful show online. A complex, cumbersome production will not survive. And on YouTube it’s not necessary — quick and cheap is all that’s expected. This is the viewpoint that experienced web series creators gave me.
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Name your favorite adult (or non-alcoholic) beverage and it’s likely that photographer Jens Johnson has captured it. Jens carries the lighting techniques he’s learned as an accomplished stills shooter into motion.
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Active Diffusion allows you to control the specularity of your light source. Dailed all the way down, you have a completely specular source with very defined clear shadow detail. Adjusting the power setting on the controller, allows you to slowly soften your shadows or completely eliminate them by choosing the full diffusion setting.
Flashlight Ltd is the UK’s premier supplier of lighting equipment to the broadcast, motion picture and theatre industries. Operating from Manchester & London, they have been satisfying the needs of local and national productions since 2002, and have expanded rapidly now supplying freelancers, productions, studios, and theatres across Europe and beyond.
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Zylight, a leading manufacturer of innovative LED lighting solutions, has partnered with Chimera Lighting to manufacture and distribute Active Diffusion, Zylight’s patented electronic diffusion technology, giving the end user infinitely adjustable opacity. Lightings first “Follow Focus.”
What drives the passion to become a photographer differs for each person. For New York City based freelance photographer, Kien Quan, it was dance that eventually led him to pick up a camera. But it wasn’t the dance that populates so many sites and blogs these days, of beautiful ballet dancers in classical poses. No, for Quan, it was breaking—a dance form born out of Hip Hop culture and known for its Bboy and Bgirl athletic and physically challenging moves.
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Noah Greenberg moved sideways into cinematography through a fateful collaboration in 2008. He began his career more than 20-years ago as a commercial still photographer, shooting portraits for editorial, music and advertising clients.
As an esteemed member of the Australian Cinematographers Society since 2012 and soon thereafter the American Society of Cinematographers in 2014, cinematographer and master lensman Greig Fraser, ASC, ACS, began his remarkable pedigree in filmmaking with documentary and short film work. But it was an American Film Institute win for Best Cinematography on director Tony Krawitz’ feature Jewboy, only five years into his career as DoP, that quickly led to several high profile feature films shot in his native Australia.
ARRI skies are bright with the new Chimera Lightbank for the ARRI SkyPanel S120. Building on the highly regarded and previously available Chimera Lightbanks for the ARRI SkyPanel S30 and S60 Tech Lightbanks, Chimera has broadened support for ARRI’s professional SkyPanel LED lighting systems to the largest available model in the line, the ARRI Sky Panel S120 Tech Lightbank (model #1649), and the Universal Mounting Brackets (model #1601).
Peter Holland, ACS–His journey from humble beginnings to award winning cinematographer.
Growing up outside of London in a working class family, Peter Holland had no exposure to the film industry or theatre arts. As a student at the East London Comprehensive School, Holland felt that his choices after graduation were either working in the London rubber factory or the dole. “ I saw no point in continuing at school,” he recalls, so he quit at the age of 15 and went to work at what he deemed “ reasonable menial jobs.” Three years later he worked his way through the Mediterranean, returned to London for a few years and then decided to travel the Kangaroo route, which runs from Sydney west to London. “ I was looking for inspiration,” Holland says explaining that at the time, “ I was a little bit rudderless. Nothing I was doing was really fulfilling or exciting and I didn’t see much of a future in it—especially in England.”
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Released this last December, the Lionsgate musical La La Land has gone on to gross more than $340 million, eleven times its original budget of $30 million. Securing not only seven Golden Globe wins, one for every single nomination that the film received, La La Land is also currently tied with Titanic for most Academy Award nominations ever, including a nod for Best Cinematography for DoP Linus Sandgren, FSF, as well as Best Actress and Best Actor for stars Emma Stone and Ryan Gosling.
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“There’s no room for grumpy,” says cinematographer Kris Kachikis in regards to the current state of filmmaking. “There’s no room for jaded.” Though he’s completely abashed at his own success, Kachikis also knows exactly what he is doing, and he works hard, which has helped to cement his reputation in the industry as a DoP capable of reliable coverage and quick rigging with a quick crew. Following up work on the feature-length film Mascots for master director and comedian Christopher Guest, now streaming on Netflix, Kachikis was already working on his follow-up as lead camera on the upcoming Christmas comedy, Why Him?, starring James Franco and Bryan Cranston, before Mascots had even debuted at the TIFF festival in Toronto this last September.
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With a body of work for top names in the industry like J.J. Abrams, McG, Atom Egoyan and David Cronenberg, David Moxness A.S.C., C.S.C, has a technical history in media that goes as far back as gaffer for the very first interactive television show, Captain Power, as well as camera for Gene Rodenberry’s EARTH: FINAL CONFLICT, the first episodic to use 24 fps HD video. Known for, Moxness is currently filming a return to the popular and very successful miniseries, The Kennedys, with a sequel, The Kennedys After Camelot. He also shot several episodes on this last season of Lethal Weapon for 20th Century Fox.
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Based out of Australia, but finding himself working worldwide, conceptual artist Colin Anderson will often build a final still image from hundreds of other images and graphic elements. The commercial photographer finds himself in demand with clients looking to build deeply symbolic narratives that must be told through only a single still image. With a talent for fantasy, computer work and studio lighting, Anderson has plenty of advice on cobbling together the needed components for composite work and conceptual commercial photography. Recently, he was given Chimera equipment to try for the first time; see how Chimera improved his workflows!
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You’ve felt the chill. You’ve heard the call. You’ve seen the need. Now, you’ve stepped up to keep tens of thousands of New Yorkers in need warm this winter. For that, we can’t thank you enough. The Coat Drive runs through December 31st and the earlier we get coats the better, so make sure to start collecting today.
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Content creation has been redefined over the past several years, merging still and motion. Whether your specialty is beauty, fashion, food, products or documenting the world around us, being able to work in both still and motion continues to be critical to a creative’s survival in today’s market. We talk to top creatives and industry experts about how image making has changed and where it’s headed.
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“I did do a lot of documentary work in my twenties, environmental work and action sports, all around the world,” he replies when asked what it was about his early work that translated to his first feature length, The Land, which was picked up for distribution by IFC Films after showing this year at Sundance. At a modest indie budget, the plan for the production was to work frequently in uncontrolled environments, especially while shooting inner-city exteriors in the city of Cleveland where the movie is set. The lessons Holleran learned by working so often in the field proved handy as a few of the unique challenges that the team faced on The Land included lightning strikes and a gun shooting on set.
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For Matteo Mescalchin, life has been all about going out and building things for yourself. Being born and raised in Padova, just outside Venice, where feature films are constantly shot due to the beautiful landscape, Matteo took an interest early on learning how to shoot video by skipping school to watch crews film movies in town.
With the 13-episode series Jessica Jones wrapped, and a new show, Luke Cage, scheduled to debut on Netflix this September 30th, cinematographer and workaholic Manuel Billeter is also slated for the upcoming companion series Iron Fist, shooting now. One would think that with so much action work, Billeter would lean heavily towards fast edits and music-video-style choppiness, but instead, almost shockingly, he points out that he is heavily influenced by the more ethereal, dreamlike work of master directors like Wong Kar Wai, David Fincher, Stanley Kubrick and Federico Fellini.
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Chimera Lighting is jet-setting our way to trade shows in Amsterdam, Munich, Cologne, Toronto and New York this August through October.
Come by and and say hello! Sign up for an appointment below or let us know what you like to see next from the Chimera Team! See you all soon!
On a recent Sports Illustrated project documenting the three-time Gold-winning Women’s 8 Olympic Rowing Team as they trained for the Rio games, still photographer and multimedia artist Drew Gardner was facing not only a difficult still photography setup in the middle of a lake, but also a three-day shoot that would ultimately include video interviews as well as virtual reality content destined to accompany a long-form article on the SI.com website. Relying almost entirely on Kino Flos and Chimera medium lightbanks coupled with Profoto B1 high-powered flashes, the goal for Gardner and his team would be to capture several editorial stills to be coupled with clickable content that would unlock easter-egg video interviews with the women athletes about their responsibilities as a team member and Olympian.
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With talents that extend far beyond those of a typical cinematographer, including four spoken languages, jet-setting DP Dejan Georgevich ASC has been working worldwide for more than two decades. As cinematographer as well as director, he has put together hundreds of award-winning commercials and industrials for a stellar list of clients, like AT&T, HBO, Toyota and Nissan. Almost as well known for his network of industry friends as his talents behind the camera, Georgevich also does his best to contribute to the filmmaking and production community. He’s a mentor to many of the students that have passed through his classes, not only in the classroom at the School of Visual Arts in New York, where he runs Advanced Production as well as Advanced Lighting and Cinematography, but also in many of the union workshops that he has led throughout the years as Co-Chair for the Eastern Region Education and Training Committee and National Executive Board Member at the ICG.
http://chimeralighting.com/wp-content/uploads/2016/09/DG-portrait.jpg12412048Chimera Lightinghttp://chimeralighting.com/wp-content/uploads/2016/03/chimera-lighting-logo.pngChimera Lighting2016-09-07 12:39:432016-09-08 20:30:12Cinematographer Dejan Georgevich ASC on his favorite Chimera accessories for working productions worldwide
Boulder, CO July 2016 – With the line between motion and still-content creators blurring more everyday, Chimera Lighting is proud to announce the release of the revolutionary Triolet to Profoto Adapter (9923).
Easily attached to the massively popular Triolet, a very price-point approachable continuous light fixture that can accommodate up to a 1000-watt bulb, this adapter allows you to use the light with Profoto’s wide array of light-shaping tools from reflectors to beauty dishes, and more.
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For a lot of people, photography is a life-long journey that starts at a young age. For Michael Grecco, it was a dreamy affair with the darkroom that started way back in summer camp. Fast-forward to the formidable years and he knew what he wanted to do when he went onto college: photojournalism.
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How much should you spend on your gear, and what do you get for your money? Is a high-dollar item better than a less expensive item with similar features? Like every photographer in today’s market, I ask myself that very question when putting down cash for equipment.
A big question I get about the gear I use is, “Is that worth the money?” And for most of the gear I own, the answer is yes. Photography and video are the way I pay the bills, so the gear I use must work every single time I pull it out of the case.
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Many times in a creative’s life, there will be a period when you look back on what you’ve been doing and make a choice to pivot into a new chapter. For Jeff Lewis, there has been a few over the years – some very notable ones to say the least. Lewis grew up eating, sleeping & breathing football, although his creative side shown through in his oil paintings. However, it wasn’t until he was in college on the football field that his true calling occurred to him.
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Currently preparing for a labor-of-love shoot in Trinidad, Nancy Schreiber, ASC is bubbling with enthusiasm for the project, Moving Parts, a fictional narrative that centers on the international sex trade. “I was just drawn to the subject matter,” she says. Ever vocal for the rights of women, Schreiber says that she will work on several PSAs over the course of a year in between other work, but for this feature length, she has dedicated herself to seeing the project through despite a very small budget.
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Starting in the late 1970’s, Crudo began his career as an assistant cameraman on such films as Raising Arizona, Ghostbusters II, Field of Dreams and Presumed Innocent. During that time he had the opportunity to work for a litany of historic cinematographers like Michael Chapman, ASC, Laszlo Kovacs, ASC, Gordon Willis, ASC and Vilmos Zsigmond, ASC.
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