SIGN UP

Creating an account with Tribecafilm.com gives you access to more features and services, like our weekly newsletter and other special features just for the film community.

SIGN UP

BECOME A TRIBECA INSIDER

Sign up to access information about new releases before anyone else. By joining you’re entered for a chance to
win two tickets to a red carpet premiere
at the 2016 Tribeca Film Festival.

By clicking the Sign Up button, you agree that we may send you Tribeca Film emails at the address provided above from time to time on behalf of Tribeca Enterprises (about events, promotions and activities). You can unsubscribe at any time by following the instructions in any email you receive.
X
FILM GUIDE ARCHIVE PANEL

TRIBECA TALKS INDUSTRY - SHOOTING ANAMORPHIC

TFF 2011
FILM GUIDE ARCHIVE TRIBECA TALKS INDUSTRY - SHOOTING ANAMORPHIC [TFF 2011]

Creative decisions and techniques made by cinematographers vary widely. Camera positions and lighting design all combine to give a film the right atmosphere. One important choice to make is the type and style of the lens. Referred to as many things (CinemaScope, 2.35:1), the Anamorphic lens has become a major creative tool in the cinematographer's kit. Why shoot anamorphic? What are the advantages of this look, and why should some filmmakers choose it? Join Jason Kohn, director of Manda Bala, cinematographer Frederick Elmes (Brothers, The Namesake), cinematographer Barry Markowitz (Crazy Heart, All the Pretty Horses), Shawn Christensen, director of TFF short Brink and the short Curfew, cinematographer Dan Katz (Curfew), and Ellen Kuras (Eternal Sunshine of the Spotless Mind, Blow) to discuss the creative benefits and choices to shoot Anamorphic. Moderated by American Cinematographer's John Calhoun.

Creative decisions and techniques made by cinematographers vary widely. Camera positions and lighting design all combine to give a film the right atmosphere. One important choice to make is the type and style of the lens. Referred to as many things (CinemaScope, 2.35:1), the Anamorphic lens has become a major creative tool in the cinematographer's kit. Why shoot anamorphic? What are the advantages of this look, and why should some filmmakers choose it? Join Jason Kohn, director of Manda Bala, cinematographer Frederick Elmes (Brothers, The Namesake), cinematographer Barry Markowitz (Crazy Heart, All the Pretty Horses), Shawn Christensen, director of TFF short Brink and the short Curfew, cinematographer Dan Katz (Curfew), and Ellen Kuras (Eternal Sunshine of the Spotless Mind, Blow) to discuss the creative benefits and choices to shoot Anamorphic. Moderated by American Cinematographer's John Calhoun.

Film Information
Year: 2011
Length: 90 minutes
Language: English
Country: USA
Premiere: Panel
Special Note



Sponsored by:



COMMENTS – JOIN THE CONVERSATION

RUSH SALES POLICY

When tickets for a screening or event are no longer available, they will be listed as RUSH. The Rush system functions as a stand-by line that will form at the venue approximately 45 minutes prior to scheduled start time. Admittance is based on availability and will begin 15 minutes prior to program start time. Rush Tickets are the same price as advance tickets payable upon entry. There is a limit of one Rush Ticket per person.

© 2017 Tribeca Enterprises LLC | Privacy Policy | Terms & Conditions