Jurassic World is another in a long line of big-budget tentpole features for cinematographer John Schwartzman, ASC (Armageddon, Seabiscuit, Night at the Museum: Battle of the Smithsonian, The Amazing Spider-Man). With a production scale rivaling that of its dinosaur-sized subjects, this fourth installment in the series served up something Schwartzman had not had on any film prior: the opportunity to create a new aspect ratio.
“Johnny, what kind of cameras are you going to use?”
When director of photography Lowell Peterson, ASC was gearing up to shoot The CW series Jane the Virgin, which has a diverse array of talent in front of the camera including numerous Latino actors, he felt Panavision's Primo Zoom Lenses would be the ideal glass. “I find that the Panavision lenses are really good with skin tone,” he remarks.
With intricate choreography and grand staging, Disney's Cinderella takes its cues from classic MGM musicals and Frank Capra films to create a modern, but non-musical, classic.
In February of 2015, John Bailey, ASC will be honored by the American Society of Cinematographers with their Lifetime Achievement Award, joining the rarified ranks of some of the industry’s most iconic directors of photography.
Marco Polo is a new original series from Netflix that dramatizes the epic sweep and personal politics of the Venetian trader and traveler who changed the course of history in the 13th century.
Panavision recently introduced a new line of Primo 70 lenses optimized to work with today’s larger sensor digital cameras.
The 22nd edition of the Camerimage International Festival of the Art of Cinematography is in the books.
