Hangman Studios’ James Tonkin likes a challenge – such as using eight Canon EOS DSLR cameras to film a two-hour live concert DVD for the band Archive. Here, he tells Robert Hull about last-minute venue changes, the stress of multi-tasking, and how Canon’s DSLRs captured the epic, cinematic sweep of a band in full flow.
“It’s been a labour of love really.” James Tonkin is sitting in his west London studio and explaining a project he admits he: “lived with for the majority of last year.” The project is ‘Live in Athens’, a DVD of the rock band Archive. Not only is the film an example of how live footage can be crafted to deliver a rewarding concert experience, it’s also a testament to the ability of Canon’s EOS DSLRs to deliver technological excellence and creative invention. Continue reading
iStockphoto, the royalty-free online photo and video resource, has revolutionised stock photography for customers and photographers. The company’s Chief Operating Officer, Kelly Thompson, spoke to CPN to explain the ethos, attitude and planning behind iStockphoto’s success. Robert Hull reports.
For Thompson there is virtually no overlap between Getty and iStock, though he’s quick to thank Getty’s Chief Executive Officer, Jonathan Klein, for providing useful advice. “One of the great things he told us when he bought us was to ‘slow down and focus on quality’. Once you have more than five million images on a site that’s more than anyone can see in a lifetime, so we could step back and focus on how good the images are,” reveals Thompson. Continue reading
Legendary music video director Kevin Godley was commissioned to help to launch Charlotte Church’s creative rebirth with an innovative video for the single ‘Back to Scratch’. Godley, DoP George Tiffin and producer Ben Sullivan tell Robert Hull a tale of white rooms, eight Canon EOS DSLR cameras and a finished video they feel hit the mark.
When a recording artist as high profile as Charlotte Church takes creative control of their career it’s usually an indication that they mean business. And with the Welsh singer forming her own label, Dooby Records, to launch the ‘Back to Scratch’ album, it also underlined her financial commitment to the project.
Read the full article online at Canon Professional Network
Case study: 3D games developer, Patrick Naud, executive producer for Ubisoft (www.ubi.com)
Note: Shaun White Skateboarding set for Europe launch on 28 Oct.
Read full interview and more 3D stories at Guardian: Life in 3D
It’s just a short hop from the University of Montreal to the games developer Ubisoft’s offices in the city but making that trip has taken Patrick Naud on a 12-year journey to the pinnacle of the games industry and the forefront of 3D game development.
Naud, a 34-year-old “French-Canadian guy”, joined the company straight after his degree in 1998 and has seen the studio grow from a small satellite office to one of the largest games production houses in the world. His credits include Tom Clancy’s Rainbow Six and last year’s James Cameron’s Avatar: The Game, on which he was executive producer. Continue reading
From his breakthrough role in East is East via a stint in EastEnders and appearances in Hollywood blockbusters such as Blood Diamond and 2012, Jimi Mistry has had an interesting and eventful acting journey. It’s probably not fair, after all that effort, that his latest movie – the low-budget Brit horror, Basement – finds him trapped underground with Danny Dyer. He tells Screenjabber’s Robert Hull about the experience … Continue reading
Robert Hull: Visually it’s a very striking, atmospheric film. Did you have particular movies in mind when you came to shoot it?
Richard Jobson: Yes. First of all I decided to make a black-and-white film – in colour. So I dressed everyone in black and white, apart from Sean, who they are chasing, and who wears a red, hooded top, and so really you get this film-noirish feel. It was gently paying homage to a lot of noirs I liked, from The Third Man through to The Killers, but also to a lot of the films that have dealt with similar themes, such as Funny Games by Michael Haneke, American Psycho, or Rope by Alfred Hitchcock.
RH: It’s a very nocturnal film. Was there a lot of night-time shooting?
RJ: The majority of it was shot during the night and early morning, right up until the very end of the movie. Continue reading
Interview feature for Canon Europe website with wildlife filmmaker Pieter Huisman
Dutch filmmaker and cameraman Pieter Huisman has seen every side of the television industry since starting as a clapper loader in 1996. He now follows his lifelong passion for wildlife film-making and he has worked for major broadcasters such as Channel 4, RDF and National Geographic. Filming has taken him to Tanzania and The Gambia, while his most recent project, ‘Wild Dog Island’ for Animal Planet, was in Zimbabwe. Rob Hull spoke to him about his career and shooting experiences and why he always brings his trusted Canon XL H1 along. Continue reading
‘The author was afraid about somebody making this into an exploitation movie, like a zombie or a sci-fi film, and missing the point of the story’
The Oscar-nominated director of Blindness talks to Robert Hull about tackling taboos and surviving test screenings.
RH: What did you do to finally convince author José Saramago to sell you the rights to the book – after you, and other filmmakers, had tried and failed before?
FM: I read the book in 96/97 and approached him to buy it. He said no, so I accepted that. Then Canadian producer Niv Fichman called him and was also told no, but Niv flew to the Canary Islands, where Saramago lives, and stayed for four days – and after those four days he agreed to sell him the rights. I think Saramago was afraid about somebody making this story into an exploitation movie, like a zombie movie or a science fiction film, and missing the point of the story. Continue reading
‘When you have a four-year-old celebrity it says interesting things about fame’
Screenjabber’s Robert Hull talks with director Amir Bar-Lev about his controversial documentary My Kid Could Paint That, in which a four-year-old art prodigy and her family find themselves part of a brutal media circus — and the filmmaker becomes a character in his own movie. Continue reading