by Graham Sheldon | 8th December 2016
Since 1920, the prestigious American Society of Cinematographers (ASC) credentials have appeared in film titles next to some of the most celebrated cinematographers in history. The ASC has announced their ASC Award TV nominees, and HBO leads the group with five nominations. Read the full list and more below! Picture: HBO HBO has led the TV awards season field for several years now, and if the ASC awards are any indication, that isn’t likely to end soon. Game of Thrones, Westworld, All The Way and The Night Of each landed nominations for HBO, with Game of Thrones receiving two nominations in the Non-Commercial category. Each of the 15 nominees were selected by ASC members. Irish cinematographer John Conroy received his first nomination for his work on Showtime’s gorgeous-looking Penny Dreadful. Below is the trailer for his nominated episode: “The Day Tennyson Died”. Anette Haellmigk, the only female nominee, is nominated for her work on the episode “Book of the Stranger”, also for Game of Thrones. This is her third nomination for Game of Thrones after two in 2014 and 2015. Her first nomination came for Season 4’s epic finale, “The Children“. Trailer for “Book of the Stranger” below: Christopher Norr has been nominated for a third consecutive time for his work on Fox’s Gotham, this time for the episode “Wrath of the Villains: Mr. Freeze”. The show has been touch and go with audiences and critics alike, but none of that changes the fact that Gotham looks great. Here is a quick promo for this years nominated episode: Full List of Nominees: Regular Series for Non-Commercial Television John Conroy for Penny Dreadful, “The Day Tennyson Died” (SHOWTIME) David Dunlap for House of Cards, “Chapter 45” (NETFLIX) Anette Haellmigk for Game of Thrones, “Book of the Stranger” (HBO) Neville Kidd for Outlander, “Prestonpans” (STARZ) Fabian Wagner, BSC for Game of Thrones, “Battle of the Bastards” (HBO) Regular Series for Commercial Television Tod Campbell for Mr. Robot (USA) John Grillo for Preacher, “Finish the Song” (AMC) Kevin McKnight for Underground, “The Macon 7” (WGN) Christopher Norr for Gotham, “Wrath of the Villains: Mr. Freeze” (FOX) Richard Rutkowski for Manhattan, “Jupiter” (WGN) Movie, Miniseries, or Pilot for Television Balazs Bolygo, HSC, BSC for Harley and the Davidsons, “Amazing Machine” (DISCOVERY) Paul Cameron, ASC for Westworld, “The Original” (HBO) Jim Denault, ASC for All The Way (HBO) Alex Disenhof for The Exorcist, “Chapter One: And Let My Cry Come Unto Thee” (FOX) Igor Martinovic for The Night Of, “Subtle Beast” (HBO) Picture: John P. Johnson/HBO Since 2000, the “golden age of TV” has been defined by improved cinematography and storytelling, and the above cinematographers are helping to further blur the line between film and television production value. Winners will be announced on February 4, 2017.Read more
by Fabian Chaundy | 29th October 2016
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! Thanks to Hedge for Mac, G-Technology, Røde Microphones, Sachtler, in association with Ford Netherland (thanks for the Ford Galaxy car loan!) and Sony Europe (thanks for the 4K Action cam loan!) We return to our conversation with our filmmaker/blogger friends Joe Marine, Philip Bloom, Richard Lackey and Fraser McGruer. This episode is all about television! Times are changing, man… They have been for a while, in fact. We are living what seems like a fairly definitive transition from traditional television services to the online On Demand model with services like Netflix, that are themselves producing content with very high production standards. But where does that leave traditional linear TV? And how does the viewing experience change when consuming content in these different media? In this episode shot during IBC 2016, we discuss those constantly shrinking TV budgets, the role of larger-sensor camera operators in the TV world, wages, and the thrill of seeing your programme airing live on TV. Joe Marine is a filmmaker and freelance blogger who first sat with us On the Couch way back in episode 2. Philip Bloom, back on his feet again after a back injury, is a celebrated filmmaking and blogger, whose recent work includes being a Director of Photographer for CNN’s The Wonderlist with Bill Weir. Richard Lackey is a Dubai-based filmmaker and colourist member of C.S.I. He is a regular cinema5D contributor, and you can see all his posts here. Fraser McGruer is a filmmaker and is, along with Philip, behind the Lights & Shadows filmmaking workshops. A fascinating conversation among the Dutch windmills, all the while navigating the dangerous streets of Amsterdam, escaping head-to-head collisions and avoiding the hoards of cyclists. Make sure to tune in for the second and final part of our ride on episode 37, where we tackle the topic of the quality of current TV programming, as well as the future of television. Please visit our sponsors’ websites to keep new episodes of ON THE GO coming! Thanks to Hedge for Mac, G-Technology, Røde Microphones, Sachtler and in association with Ford and Sony.Read more
by Fabian Chaundy | 22nd February 2016
The Federal Communications Commission (FCC) has approved a proposal to open up the current model of cable television subscription in the US. This would allow a drop in prices by introducing software and hardware innovations, such as enjoying cable subscriptions through VoD systems like those from Apple, Google and Amazon. The process of subscribing to a cable television provider in the US has remained reasonably unchanged for the last few decades. The lease of a set-top box in addition to the monthly subscription is a necessary expense, and one that has been on a steep rise for the last 20 years, while conversely the costs of devices such as computers, televisions and mobiles have been dropping (source: FCC). Responding to the need for innovation and competition, the FCC is proposing to introduce a framework by which providers must deliver necessary information and content to third-parties. This would allow cable TV content to be delivered through other hardware or software solutions, giving viewers a choice in how they receive their content. This would mean that you could use your Android TV, Amazon’s Fire TV, or Apple TV devices to access your cable subscription. Alternatively, it could be available to be viewed in app form within mobile devices and computers, allowing you to enjoy your subscription on the go. Ideally, this push to “unlock the box” would reduce the total cost of subscribing to a cable television provider by eliminating the extra expense of leasing a set-top box. This, in turn, could lead to an increase in subscriptions, and thus a higher demand for content. It will be interesting to see what this will mean to content creators, and whether it will generate a shift in both the kind and the amount of content they produce. It is still early days, but in a time of further and further democratisation of content creation through better and more affordable video solutions, it is interesting to see legislation follow suit at the delivery end. Do you think moves like these will affect the production industry in general? Post your comments below!Read more
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