<\/p>\n
MONDAY 14th<\/sup> Nov<\/span><\/strong><\/h3>\n\u00a0<\/div>\n19:45-21:15<\/span><\/strong><\/div>\nOpera Nova Congress Centre
Seminar Room, 1st<\/sup> floor<\/strong><\/div>\n
ARRI ACADEMY CLOSE-UP EVENT<\/strong><\/span><\/div>\n
New challenges for cinematographers<\/strong>
HDR and wide colour gamut workflows with ALEXA SXT<\/strong>
and ALEXA Mini<\/strong><\/p>\nThis seminar will guide you through the basics of High Dynamic Range (HDR) technology and how it might affect your technical or creative decisions as a cinematographer. You will be taught the full capabilities of ALEXA SXT<\/strong> and ALEXA Mini<\/strong> when it comes to HDR and wide colour gamut monitoring.
Experienced industry professional Florian Rettich<\/strong> will detail the many possibilities the cameras have to offer and give you expert advice. Topics covered will include Log C-to-video conversion, postproduction concerns, HDR standards and formats, on-set monitoring with different looks for different crew members, live grading, and real-world setups.<\/span><\/div>\n\u00a0<\/div>\n\u00a0<\/div>\n\nWEDNESDAY 16th<\/sup> Nov<\/span><\/strong><\/h3>\n<\/div>\n\u00a0<\/div>\n\n11:30-16:00<\/span><\/strong><\/div>\nWorkshops Center<\/span><\/strong><\/div>\n University of Economy Building M<\/span><\/strong><\/div>\n<\/div>\n
Innovation and creativity in the modern action genre<\/strong>
with Stephen F. Windon, ACS, ASC and Marc Spicer, ACS,<\/strong>
assisted by 1st AC Joe Martinez<\/strong><\/p>\nHow to make the most of available camera and lighting technologies<\/em><\/p>\nStephen F. Windon, ACS, ASC<\/strong> is an Emmy-nominated Australian cinematographer whose career spans the last four decades. He recently completed work on Fast 8<\/em><\/span> for Universal Pictures, for which he utilised the ALEXA camera system. In 2015 he teamed up with director Justin Lin on Star Trek Beyond<\/em><\/span>, combining ALEXA with Master Anamorphic lenses<\/strong> and ARRI Anamorphic Ultra Wide Zoom<\/strong>.
Windon\u2019s<\/strong> previous credits include four other titles from the Fast and Furious<\/em><\/span> franchise, G.I. Joe: Retaliation<\/em><\/span>, and episodes of the epic HBO series The Pacific<\/em><\/span>, for which he received an Emmy nomination in 2010 and an ASC Award in 2011.
Co-hosting the master class with Windon will be fellow Australian Marc Spicer, ACS<\/strong>. The two collaborated on several Fast and Furious<\/em><\/span> films as well as episodes of The Pacific<\/em><\/span>, with Spicer serving as either camera operator or second unit cinematographer. His most recent credit is shooting the second unit on The Commuter<\/em><\/span>, working alongside Paul Cameron, ASC<\/strong>.
\u2018In the workshop we\u2019ll discuss how to select the right equipment for each shot, covering new technology, multiple cameras, and special action rigs. We\u2019ll demonstrate how to light for a moving camera and how to configure the camera for moving lights. Action scenes often mean VFX, so we\u2019ll talk about shot planning, frame contamination, and prep work with the VFX team, as well as all other departments. We\u2019re also keen to explore what can be done on a very limited budget.\u2019<\/em><\/span><\/div>\n\u00a0<\/div>\n\u00a0<\/div>\n\u00a0<\/div>\n17:45-19:15<\/strong><\/span><\/div>\n Opera Nova<\/strong><\/span><\/div>\nMain Auditorium
<\/strong><\/span><\/div>\n
ARRI BIG SCREEN EVENT<\/strong><\/span><\/div>\n
Special documentary screening and discussion
with director\/cinematographer Richard Ladkani<\/span><\/strong>
Plus the latest ALEXA 65 showreel clips<\/p>\nARRI\u2019s third annual Big Screen event at Camerimage<\/strong> will focus on documentary filmmaking, with director\/ cinematographer Richard Ladkani<\/strong> presenting an exclusive 40-minute extract from the acclaimed feature film documentary The Ivory Game<\/em><\/span>, which he co-directed with Kief Davidson.<\/strong> The Netflix Original production, executive produced by Leonardo DiCaprio<\/strong>, focuses on the supply and demand chain of illegal ivory, from poachers killing elephants in Africa, to Asian syndicates bribing officials at international ports. It was primarily filmed with the ARRI AMIRA<\/strong>.
After the screening, Ladkani<\/strong> will take part in a live Q&A on stage, discussing documentary issues such as equipment choices, the visual aesthetics of documentary versus drama, the limits of a cinematic perspective in unscripted situations, the problem of putting lives in danger just by recording events, and techniques to avoid missing unrepeatable moments.
\u2018The key was to be as close to our characters as possible and to be immersed in their world, which meant we had to be extremely flexible and fast. We couldn\u2019t plan anything; we just followed our subjects wherever they decided to go.\u2019<\/em>
In addition, the latest clips from major productions that have utilised ARRI Rental\u2019s ALEXA 65 large format camera system will be screened.<\/span><\/div>\n\u00a0<\/div>\n\u00a0<\/div>\n\nTHURSDAY 17th<\/sup> Nov<\/span><\/strong><\/h3>\n<\/div>\n\u00a0<\/div>\n\n11:30-16:00<\/span><\/strong><\/div>\nWorkshops Center<\/span><\/strong><\/div>\n University of Economy Building M<\/span><\/strong><\/div>\n<\/div>\n
ARRI ACADEMY MASTER CLASS<\/strong><\/span><\/div>\n
Fearless cinematography in a sublime age<\/strong>
with Paul Cameron, ASC, assisted by 1st AC Joe Martinez<\/strong><\/span><\/div>\n
How to embrace bold lighting and looks using modern tools<\/em><\/span><\/div>\n
LA-based cinematographer Paul Cameron, ASC<\/strong> has worked on some of the most visually groundbreaking feature films of the past decade. He recently completed principal photography on The Commuter<\/em><\/span> for director Jaume Collet-Serra<\/strong> working with ARRI ALEXA Mini cameras.
Set for release in May next year, Disney\u2019s Pirates of the Caribbean: Dead Men Tell No Tales<\/em><\/span> promises to be one of the biggest box office films of summer 2017. Cameron<\/strong> spent the larger part of 2015 shooting the film on location in Australia, again utilising the ALEXA system. His previous credits include the pilot of HBO\u2019s acclaimed series Westworld<\/em><\/span> and the films Dead Man Down<\/em><\/span>, Total Recall<\/em><\/span>, Man on Fire<\/em><\/span>, Gone in Sixty Seconds<\/em><\/span>, and Collateral<\/em><\/span>.
Cameron<\/strong> will explore contemporary lighting techniques and LUT management with the ALEXA Mini<\/strong> camera during the workshop. He will also demonstrate the ARRI TRINITY<\/strong> camera stabiliser rig and debut the CINEFADE system, which allows cinematographers to vary depth of field in-camera during a shot.
\u2018We are living through an exciting time in the world of cinematography, with new technology enabling things that simply haven\u2019t been possible before. Smaller cameras, new stabilisation tools, and unprecedented image quality, combined with sophisticated look management and high-quality monitoring now allow us to be fearless on set and to push our creativity to its limits.\u2019<\/em><\/span><\/div>\n\u00a0<\/div>\n\u00a0<\/div>\n<\/div>\n<\/p>","protected":false},"excerpt":{"rendered":"
Join ARRI seminars and workshops at the 24th edition of the Camerimage International Film Festival of the Art of Cinematography,…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[142],"tags":[],"class_list":["post-8117","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-camerimage-2016"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8117"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=8117"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8117\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=8117"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=8117"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=8117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Seminar Room, 1st<\/sup> floor<\/strong><\/div>\n
ARRI ACADEMY CLOSE-UP EVENT<\/strong><\/span><\/div>\n
New challenges for cinematographers<\/strong>
HDR and wide colour gamut workflows with ALEXA SXT<\/strong>
and ALEXA Mini<\/strong><\/p>\n
This seminar will guide you through the basics of High Dynamic Range (HDR) technology and how it might affect your technical or creative decisions as a cinematographer. You will be taught the full capabilities of ALEXA SXT<\/strong> and ALEXA Mini<\/strong> when it comes to HDR and wide colour gamut monitoring. How to make the most of available camera and lighting technologies<\/em><\/p>\n Stephen F. Windon, ACS, ASC<\/strong> is an Emmy-nominated Australian cinematographer whose career spans the last four decades. He recently completed work on Fast 8<\/em><\/span> for Universal Pictures, for which he utilised the ALEXA camera system. In 2015 he teamed up with director Justin Lin on Star Trek Beyond<\/em><\/span>, combining ALEXA with Master Anamorphic lenses<\/strong> and ARRI Anamorphic Ultra Wide Zoom<\/strong>. ARRI\u2019s third annual Big Screen event at Camerimage<\/strong> will focus on documentary filmmaking, with director\/ cinematographer Richard Ladkani<\/strong> presenting an exclusive 40-minute extract from the acclaimed feature film documentary The Ivory Game<\/em><\/span>, which he co-directed with Kief Davidson.<\/strong> The Netflix Original production, executive produced by Leonardo DiCaprio<\/strong>, focuses on the supply and demand chain of illegal ivory, from poachers killing elephants in Africa, to Asian syndicates bribing officials at international ports. It was primarily filmed with the ARRI AMIRA<\/strong>. <\/p>","protected":false},"excerpt":{"rendered":" Join ARRI seminars and workshops at the 24th edition of the Camerimage International Film Festival of the Art of Cinematography,…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[142],"tags":[],"class_list":["post-8117","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-camerimage-2016"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8117"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=8117"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8117\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=8117"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=8117"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=8117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Experienced industry professional Florian Rettich<\/strong> will detail the many possibilities the cameras have to offer and give you expert advice. Topics covered will include Log C-to-video conversion, postproduction concerns, HDR standards and formats, on-set monitoring with different looks for different crew members, live grading, and real-world setups.<\/span><\/div>\nWEDNESDAY 16th<\/sup> Nov<\/span><\/strong><\/h3>\n<\/div>\n
Innovation and creativity in the modern action genre<\/strong>
with Stephen F. Windon, ACS, ASC and Marc Spicer, ACS,<\/strong>
assisted by 1st AC Joe Martinez<\/strong><\/p>\n
Windon\u2019s<\/strong> previous credits include four other titles from the Fast and Furious<\/em><\/span> franchise, G.I. Joe: Retaliation<\/em><\/span>, and episodes of the epic HBO series The Pacific<\/em><\/span>, for which he received an Emmy nomination in 2010 and an ASC Award in 2011.
Co-hosting the master class with Windon will be fellow Australian Marc Spicer, ACS<\/strong>. The two collaborated on several Fast and Furious<\/em><\/span> films as well as episodes of The Pacific<\/em><\/span>, with Spicer serving as either camera operator or second unit cinematographer. His most recent credit is shooting the second unit on The Commuter<\/em><\/span>, working alongside Paul Cameron, ASC<\/strong>.
\u2018In the workshop we\u2019ll discuss how to select the right equipment for each shot, covering new technology, multiple cameras, and special action rigs. We\u2019ll demonstrate how to light for a moving camera and how to configure the camera for moving lights. Action scenes often mean VFX, so we\u2019ll talk about shot planning, frame contamination, and prep work with the VFX team, as well as all other departments. We\u2019re also keen to explore what can be done on a very limited budget.\u2019<\/em><\/span><\/div>\n
<\/strong><\/span><\/div>\n
ARRI BIG SCREEN EVENT<\/strong><\/span><\/div>\n
Special documentary screening and discussion
with director\/cinematographer Richard Ladkani<\/span><\/strong>
Plus the latest ALEXA 65 showreel clips<\/p>\n
After the screening, Ladkani<\/strong> will take part in a live Q&A on stage, discussing documentary issues such as equipment choices, the visual aesthetics of documentary versus drama, the limits of a cinematic perspective in unscripted situations, the problem of putting lives in danger just by recording events, and techniques to avoid missing unrepeatable moments.
\u2018The key was to be as close to our characters as possible and to be immersed in their world, which meant we had to be extremely flexible and fast. We couldn\u2019t plan anything; we just followed our subjects wherever they decided to go.\u2019<\/em>
In addition, the latest clips from major productions that have utilised ARRI Rental\u2019s ALEXA 65 large format camera system will be screened.<\/span><\/div>\nTHURSDAY 17th<\/sup> Nov<\/span><\/strong><\/h3>\n<\/div>\n
ARRI ACADEMY MASTER CLASS<\/strong><\/span><\/div>\n
Fearless cinematography in a sublime age<\/strong>
with Paul Cameron, ASC, assisted by 1st AC Joe Martinez<\/strong><\/span><\/div>\n
How to embrace bold lighting and looks using modern tools<\/em><\/span><\/div>\n
LA-based cinematographer Paul Cameron, ASC<\/strong> has worked on some of the most visually groundbreaking feature films of the past decade. He recently completed principal photography on The Commuter<\/em><\/span> for director Jaume Collet-Serra<\/strong> working with ARRI ALEXA Mini cameras.
Set for release in May next year, Disney\u2019s Pirates of the Caribbean: Dead Men Tell No Tales<\/em><\/span> promises to be one of the biggest box office films of summer 2017. Cameron<\/strong> spent the larger part of 2015 shooting the film on location in Australia, again utilising the ALEXA system. His previous credits include the pilot of HBO\u2019s acclaimed series Westworld<\/em><\/span> and the films Dead Man Down<\/em><\/span>, Total Recall<\/em><\/span>, Man on Fire<\/em><\/span>, Gone in Sixty Seconds<\/em><\/span>, and Collateral<\/em><\/span>.
Cameron<\/strong> will explore contemporary lighting techniques and LUT management with the ALEXA Mini<\/strong> camera during the workshop. He will also demonstrate the ARRI TRINITY<\/strong> camera stabiliser rig and debut the CINEFADE system, which allows cinematographers to vary depth of field in-camera during a shot.
\u2018We are living through an exciting time in the world of cinematography, with new technology enabling things that simply haven\u2019t been possible before. Smaller cameras, new stabilisation tools, and unprecedented image quality, combined with sophisticated look management and high-quality monitoring now allow us to be fearless on set and to push our creativity to its limits.\u2019<\/em><\/span><\/div>\n