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The Millennium DXL and Mixed Lens Formats Underscore The Hate U Give

First a short story, then a debut novel aimed at young adults, and now a feature film, The Hate U Give sprang from the experiences of Angie Thomas. The narrative incorporates incidents of young African-Americans and law enforcement, many of which are unfair and some even fatal. The novel debuted at number one on The New York Times best-seller list in February 2017, and the film premiered at the Toronto International Film Fest less than a year and a half later.

Maniac is a new Netflix miniseries based on a Norwegian dark-comedy about mental illness and pharmaceutical remedies. The project was directed by Emmy®-winner Cary Joji Fukunaga and stars Oscar®-winner Emma Stone and Oscar®-nominee Jonah Hill.

Over the last year, the industry has seen a jump in multi-camera production with more than 15 pilots ordered in 2018. The format, which gained early popularity with shows such as I Love Lucy, has remained a constant on the TV landscape but has reemerged with a more cinematic style in recent years. Tasked with creating a richer look to appeal to today’s viewers, but still facing the traditional challenges of shooting multiple camera angles and in front of a live audience, today’s shooters are adept at using advancements in technology and technique to serve their vision.

In 1978 in Colorado, undercover police officer Ron Stallworth successfully infiltrated the resurgent Ku Klux Klan. Unbeknownst to the KKK and Grand Wizard David Duke, Stallworth was the only African-American cop on the Colorado Springs force. This true story was ideal material for director Spike Lee, who turned it into BlacKkKlansman, starring John David Washington, Adam Driver and Topher Grace.

In advertising, image is everything. In today’s competitive commercial production world, cinematographers are always looking for an edge. The buzzword is often “cinematic,” and with the extremely high quality of television content, a spot must measure up or be lost in the shuffle. Makers of television content – both narrative projects and commercials – are turning to vintage glass and widescreen aspect ratios to lend their images the epic sweep of classic films.

Rachel Morrison, ASC earned an Oscar® nomination for her work on Mudbound, becoming the first female to be recognized in the category in the Academy’s 90-year history. The film, directed by Dee Rees, is set in rural Mississippi during World War II. It focuses on two families that are separated by society, yet united by their shared farmland.

Three Billboards Outside Ebbing, Missouri, which earned seven Oscar® nominations, reunites director Martin McDonagh and cinematographer Ben Davis, BSC. The two previously collaborated on Seven Psychopaths.

Cinematographer Charlotte Bruus Christensen went all-in on the Oscar®-nominated Molly’s Game by devising two distinct looks for director Aaron Sorkin that were used for scenes in Los Angeles and scenes in New York. The indie feature was shot mostly on sets built at Pinewood Studios in Toronto.

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The Millennium DXL and Mixed Lens Formats Underscore The Hate U Give

Darren Lew Blends Anamorphic with the DXL for Maniac

Multi-camera Television Cinematographers on the Magic of their Craft

Chayse Irvin, CSC Fills his Arsenal with Panavision Tools for BlacKkKlansman

Cinematographers Bring Movielike Magic to Commercials

Independent Filmmakers Discuss How Panavision Supports their Creative Vision: Mudbound

Independent Filmmakers Discuss How Panavision Supports their Creative Vision: Three Billboards Outside Ebbing, Missouri

Independent Filmmakers Discuss How Panavision Supports their Creative Vision: Molly's Game

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