Event Guide 2022 - EnergaCamerimage

EVENT

GUIDE 2022

BRITISH

CINEMATOGRAPHER

U N I T I N G C I N E M AT O G R A P H E R S A R O U N D T H E W O R L D

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EnergaCAMERIMAGE 2022

Welcome

BRITISH

CINEMATOGRAPHER

U N I T I N G C I N E M AT O G R A P H E R S A R O U N D T H E W O R L D

Publisher STUART WALTERS +44 (0) 121 200 7820 stuart.walters@ob-mc.co.uk Publisher SAM SKILLER +44 (0) 121 200 7820 sam@ob-mc.co.uk Editor ZOE MUTTER +44 (0) 7793 048 749 zoe@britishcinematographer.co.uk Design MARK LAMSDALE +44 (0) 121 200 7820 mark.lamsdale@ob-mc.co.uk Sales LIZZY SUTHERST +44 (0) 7498 876 760 lizzy@britishcinematographer.co.uk Journalist HELEN PARKINSON helen@britishcinematographer.co.uk Digital Editorial Coordinator TOM WILLIAMS tom@britishcinematographer.co.uk Website PAUL LACEY +44 (0) 121 200 7820 paul@paullacey.digital

Subscribe to British Cinematographer magazine today. You can receive the magazine posted to your home or office, or access anywhere with our digital subscription. To subscribe please visit www.britishcinematographer.co.uk/ subscribe For queries please contact Matt Hood on +44 (0) 121 200 7820 or email: matt.hood@ob-mc.co.uk

30 YEARS OF SHOOTING STARS

T

he EnergaCAMERIMAGE team have big plans to mark the 30th anniversary of the renowned celebration of cinematography, so we thought it only fitting to highlight what’s in store for attendees in a special event preview guide. In a fascinating interview with organisers Marek Żydowicz and Kazik Suwała they reminisce about the festival’s sparkling history and share some of what awaits those embarking on a trip to Toruń and provide an update on the exciting plans for the European Film Centre.

In the pages that follow you can take a photo-based trip down memory lane, marvelling at snapshots of some of the festival highlights from the past few decades, enjoy anecdotes from some of the many cinematographers who have attended the ever-evolving event, and take a sneak peek at the innovations you can expect to find in the market exhibitor area.

Once again, Camerimage boasts a packed line-up of seminars and masterclasses, many of which are collated in this guide. You’ll be spoilt for choice of exceptional films to marvel at from the productions screening in the main competition and throughout the festival’s many other strands. Sir Roger Deakins CBE BSC ASC and writer-director Sam Mendes’ latest collaboration, Empire of Light, opens the festival and Mendes will receive the Special Krzysztof Kieślowski Award for a Director (don’t miss the behind-the-scenes piece on the stellar film in the latest issue of British Cinematographer). Other award recipients include cinematographer Stephen H. Burum ASC, whose impressive career and work are profiled in this publication.

The British Cinematographer team, who will be at the festival in full force, look forward to meeting with many of you in Poland. Stop by our stand in the market exhibition area to tell us about your latest productions and to pick up a copy of the November edition of the magazine and our Focus On guide exploring virtual production. You can also find out about our digital offerings including the BCinePlayer video-on-demand platform which allows filmmakers to showcase their work for free!

Until next time,

British Cinematographer is part of LAWS Publishing Ltd, Premier House, 13 St Paul’s Square, Birmingham B3 1RB The publishers wish to emphasise that the opinions expressed in this publication are not representative of Laws Publishing Ltd but the responsibility of the individual contributors.

Zoe Mutter Editor, British Cinematographer

LAWS Publishing are proud to be corporate sponsors of Heart Research UK

We are committed to sustainable forest management and this publication is printed by Buxton Press who are certified to ISO14001:2015 Standards (Environmental Management System). Buxton prints only with 100% vegetable based inks and uses alcohol free printing solutions, eliminating volatile organic compounds as well as ozone damaging emissions.

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EnergaCAMERIMAGE 2022

Interview

Article by Helen Parkinson

THE TOAST OF TORUŃ

A lot may have changed over 30 years, but EnergaCAMERIMAGE remains at the forefront of the European festival circuit for cinematographers.

Organisers Marek Żydowicz and Kazik Suwała explain why celebrations for anniversary year are even more special with the ever-evolving plans for the European Film Centre.

I

t’s November 1993 in Toruń, a fairytale city in northern Poland, as famous for being the birthplace of polymath Nicolaus Copernicus as it is for its delicious gingerbread. But another treat awaits the cinematographers who converge on the city for the first time: the inaugural Camerimage Festival. Vittorio Storaro ASC AIC, president of the festival’s very first jury, would describe it as a “milestone in the history of the art of cinematography”, while then-ASC President Victor Kemper said it should become “the most important festival for cinematographers”.

Armed with limited funds but boundless enthusiasm, a small group of film lovers had approached Storaro and another legend of the craft, Sven Nykvist ASC FSF, with their idea for a cinematography-focused festival, and the pair were soon on board. At the event, Nykvist is honoured with the first Golden Frog Award for Lifetime Achievement, while Stuart

Camerimage founder and director Marek Żydowicz (Credit: Courtesy of Camerimage)

As well as organising the festival each year, Kazik Suwała is leading the charge on the European Film Centre CAMERIMAGE (Credit: Courtesy of Camerimage)

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Dryburgh ASC NZCS receives the Grand Prix Golden Frog for his lensing of The Piano.

Attendees enjoyed 42 films from around the world, of which eleven were presented in the Main Competition. With rave reviews from audiences and industry alike, the first edition is hailed a success.

CENTRE OF CULTURE

After forays to Łódź (2000-09) and Bydgoszcz (2010-18), the festival (known as EnergaCAMERIMAGE since 2019) is firmly reunited with its historical birthplace as it celebrates its 30th anniversary. It’s showing its dedication to Toruń by planting some exciting roots in the city.

“This is the first festival where we are actually in the process of building the new festival centre,” explains Marek Żydowicz, Camerimage’s founder and its esteemed artistic director. He’s talking about the European Film Centre CAMERIMAGE, a project launched with much fanfare in 2019 and, after a COVIDimposed hiatus, very much back on the agenda.

“The main change between last year’s festival and this year’s is that at the beginning of 2022, we started on the Centre’s design with the company that won the competition (Baumschlager Eberle),” says Kazik Suwała, one of Camerimage’s organisers. “We should finish it by January next year.”

The European Film Centre CAMERIMAGE is being designed with the support of Poland’s Ministry of Culture and Toruń’s council, with a funding injection of $150 million. It aims to position Toruń as Poland’s - if not one of Europe’s - leading film hubs. The six-building complex, a modernist triumph of metal and glass, will boast a market hall, space for exhibitions, a museum and art gallery, cinemas with special screening capabilities, a dedicated education centre, and a film studio with virtual production capabilities. Above all, it will be Camerimage’s home for the future. >> www.britishcinematographer.co.uk

EnergaCAMERIMAGE 2022

Interview

The development means 2022 is a year of dual celebrations for the Camerimage team a time to recognise not just 30 years of festival success, but to toast the future of European film. “We are sort of postponing celebrating 30 years for the 35th edition, when we’ll hopefully have it in a new centre,” Żydowicz adds.

The centre will become the future home of the Camerimage film festival (Credit: Courtesy of Camerimage)

ON THE UP

Camerimage’s 2022 edition is much awaited by the cinematographic community, after 2020’s festival was online-only and 2021 was dominated by COVID restrictions affecting travel. That’s not to say this year’s event doesn’t face its own challenges - Żydowicz and Suwała note inflation, the Ukraine war and the increase of films going straight to screening platforms are all stumbling blocks.

However, the future European Film Centre CAMERIMAGE will solve another difficulty: capacity. “We do have lots of submissions - probably around 3,000 for all our selection committees and competitions we have,” notes Suwała. “We’d love to show all the ones we like, but we are not able to due to lack of venues. So, the construction of a new place is going to influence our future editions.”

But there’s plenty to be positive about for 2022. “We opened selling our accreditations much earlier than usual this year, and the first couple of days were the best on record,” Suwała says.

“There were huge numbers of people in 2019, but that’s because we had the likes of Edward Norton, Quentin Tarantino, Danny DeVito, Josh Hartnett, and Darren Aronofsky,” adds Żydowicz. “People were coming from all over the world, not just from Poland. There were 5,000 accreditations. Such a number makes a difference in a city like Toruń, with less than 200,000 inhabitants.”

ONES TO WATCH

Two of the figures to watch at this year’s festival are cinematographer Stephen H. Burum ASC and filmmaker Ulrike Ottinger, winning the Lifetime Achievement Award and the AvantGarde Achievements Award respectively. The festival organisers note that the pair are united by their artistic growth during the 1980s.

“THE EUROPEAN FILM CENTRE CAMERIMAGE IS BEING DESIGNED WITH THE SUPPORT OF POLAND’S MINISTRY OF CULTURE AND TORUŃ’S COUNCIL, WITH A FUNDING INJECTION OF $150 MILLION. IT AIMS TO POSITION TORUŃ AS POLAND’S - IF NOT ONE OF EUROPE’S - LEADING FILM HUBS.” “When you compare the 1980s with now, there are lots of similarities in the world,” comments Żydowicz. “There was a new leader in the US and there was Margaret Thatcher in the UK. There were lots of tensions; Russia was fighting Afghanistan and there was the Cold War. This is when Stephen started to work, and the movies he shot were influenced by it. And when you look at today, we have a new German president, a new female British prime minister, and there is a Russian attack in Ukraine, so there are lots of similarities between those years and our programme is connected.”

“Stephen H. Burum is an outstanding artist,” Żydowicz says. “I do not know if there is

ALL THAT GLITTERS

This year’s poster highlights the iconic frog (Credit: Courtesy of Camerimage)

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Have you ever wondered about the history behind Camerimage’s iconic frog statuette? The award’s name and design come from an interesting quirk of the Polish language. The English phrase ‘worm’s-eye view’ (shooting an object from below) is translated to ‘frog perspective’, but that’s not where the story ends.

The creatures are part of a Toruń legend, which states that the medieval city was once affected by a dreadful plague of frogs. The mayor offered whoever could rid the town of frogs a handsome reward and his daughter’s hand in marriage. A poor violin player charmed the creatures into following him out of the city gates with his music, and the Toruń was free.

Marek Żydowicz based the design of the awards, created by sculptor Aleksander Dętkoś, on the beautiful statue in Torun’s Old Town Square.

Don’t miss it if you’re lucky enough to be attending the festival!

a cinema lover in Poland who would not know The Untouchables, Mission: Impossible, Casualties of War, Carlito’s Way, Mission to Mars or Snake Eyes. He will visit Toruń and meet the festival participants, students of film and art schools and the people of Toruń. We will talk with him about his work and what we plan to do at the European Film Centre CAMERIMAGE.” The film programme, announced a few weeks before the festival, will be complemented by various photographic exhibitions including one dedicated to Neoexpressionism, which emerged in the same era.

Other filmmaking figures to be celebrated at this year’s festival include documentary-maker Alex Gibney, winner of the Outstanding Achievements in Documentary Filmmaking Award, and Hype Williams, who will be presented with the Achievements in the Field of Music Videos Award.

Of course, encouraging the next generation of talented creatives is at the heart of Camerimage’s vision, and there are plenty of ways for students to get involved. Żydowicz notes that the calibre of entries to the everpopular Student Etudes competition are extremely strong this year.

“We also host the Talent Demo where students can pitch a project to the filmmakers here,” says Suwała. “Camerimage is a place where all these young people are not only coming to watch films - which they do, of course, as well - but to consume knowledge from the masters.”

From the new blood to the master artists - this year will be exactly 30 years since Storaro and Nykvist celebrated the arrival of the very first edition on the European scene. While filmmaking technologies - and indeed the wider world - may have changed immeasurably over that time, the festival’s ethos of championing the 10th muse remains as steadfast as ever. n www.britishcinematographer.co.uk

EnergaCAMERIMAGE 2022

30 Years in Pictures

FESTIVAL FLASHBACK A list of Camerimage’s past attendees reads like a who’s who of the international film industry, with the festival welcoming not only its pride and joy - cinematographers - but a wealth of talent from both sides of the camera.

We’ve scoured the archives to revisit the past three decades of this cinematic celebration, remembering the famous faces who’ve stopped by in Toruń, Łódź or Bydgoszcz along the way.

2017: John Toll, Lana Wachowski and Daniele Massaccesi (Credit: Ewelina Kamińska/ Camerimage archive)

2016: Actress Jessica Lange showcases her photography in a special exhibition at the festival (Credit: Bartosz Klimczak/Camerimage archive) 1996: John Schlesinger is the first receipt of the Award for Direction with Special Visual Sensitivity (Credit: Camerimage archive)

2015: A photography exhibition from Bryan Adams is one of the highlights (Credit: Wiola Łabędź/Camerimage archive)

1998: Anthony Dod Mantle DFF BSC ASC entertains attendees (Credit: Camerimage archive)

2019: Camerimage returns to its birthplace, Toruń (Credit: Camerimage archive) 1999: Sir Roger Deakins CBE BSC ASC on one of his many visits (Credit: Camerimage archive)

1993: Attendees of the inaugural Camerimage (Credit: Camerimage archive)

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www.britishcinematographer.co.uk

1994: The Camerimage jury gathers with Vilmos Zsigmond ASC as the chairman (Credit: Camerimage archive)

2006: Agnieszka Holland’s Copying Beethoven, starring Diane Kruger, opens the festival (Credit: Paweł Dworniak/Camerimage archive)

2020: Due to the COVID-19 pandemic, the festival takes place totally online (Credit: Krzysztof Wesołowski/Camerimage archive)

2014: Alan Rickman receives the Krzysztof Kieślowski Award (Credit: Paweł Skraba/ Camerimage archive)

2004: Camerimage founder and director Marek Żydowicz with David Lynch (Credit: Agnieszka Furtak/ Camerimage archive)

2013: Frogs go to Bruno Delbonnel AFC ASC, Łukasz Żal PSC and Lorenzo Hagerman (Credit: Ewelina Kamińska/ Camerimage archive)

2016: An interesting fellow at a unique exhibition of David Cronenberg’s work (Credit: Wiola Łabędź/ Camerimage archive)

2018: E.T. editor Carol Littleton ACE wins the Award to an Editor with Unique Visual Sensitivity (Credit: Dima Kutz/ Camerimage archive)

2007: As his latest film Lust, Caution is released, Ang Lee participates in a press conference at the festival (Credit: Grzegorz Piekarski/Camerimage archive)

2009: Get Low, starring Bill Murray and produced by Dean Zanuck, opens the festival (Credit: Krzysztof Kubiak/Camerimage archive)

Event Guide 2022 | EnergaCAMERMAGE | 09

EnergaCAMERIMAGE 2022

30 Years of Memories

DOWN MEMORY LANE Since its inception, Camerimage has been a place of pilgrimage for the industry’s leading lights. We asked some of those esteemed attendees to share their favourite experiences at the festival from across the decades.

“C

amerimage over the years is a foggy blur of vodka and kit. The latest and greatest of both. I remember my first time in Łódź feeling so honoured to have my student film in competition, star-struck to be in close proximity to so many of my idols. It was 2006 I believe, and I was trying to wrap my head around the Thomson Viper FilmStream camera. So many buttons. So little celluloid. And who should wander up beside me but the legend himself, Harris Savides ASC. He asked questions. I listened. To this day I still can’t believe the imagery he conjured for Zodiac out of that digital mess.

And my returns, first with Fruitvale and then Black Panther, slowly becoming a peer and then friends with so many amazing DPs. Now watching the next generation do the same.

I remember nearly getting frostbite wandering the streets in the wee hours with Matty Libatique ASC. I remember dancing to terrible euro techno music, closing down the “club” with Reed [Morano ASC] and Edu [Grau ASC AEC]. The energy at Camerimage is palpable - as much excitement at the discovery of new glass as of a new film. It is a special place, hard to put into words. Which makes perfect sense because our currency is imagery.”

Rachel Morrison ASC first attended Camerimage in the mid-2000s when her student film was in competition

RACHEL MORRISON ASC

“THE ENERGY AT CAMERIMAGE IS PALPABLE - AS MUCH EXCITEMENT AT THE DISCOVERY OF NEW GLASS AS OF A NEW FILM. IT IS A SPECIAL PLACE, HARD TO PUT INTO WORDS. WHICH MAKES PERFECT SENSE BECAUSE OUR CURRENCY IS IMAGERY.” 10 | Event Guide 2022 | EnergaCAMERMAGE

www.britishcinematographer.co.uk

“I

n 1999, the seventh Camerimage festival took place, and I was invited over to give a seminar about my work with Stephen Frears, which at that point consisted of films starting with My Beautiful Laundrette in 1984 and the recently shot Hi-Lo Country, which turned about to be the last of the eight films I made with him. This was my first experience of “speaking in public” about films I had shot, so naturally I was a little nervous and terrified - especially as this was the guest list that year: John Bailey, Dean Cundey, Roger Deakins, Paweł Edelman, Sławomir Idziak, Anthony Dod Mantle, Robby Müller, Dick Pope, Giuseppe Rotunno, Timo Salminen, Witold Sobociński, Billy Williams and Jerzy Zieliński etc - 100 in all! On top of that Midsummer Night’s Dream, a film I had made recently with director Michael Hoffman, was closing the festival, so all in all a very nerve-wracking week!

I was taken to a corridor alive with people and then to a door, behind which I could hear a lot of people talking - this was the room in which I was to give the Frears seminar. My guide beckoned me to wait outside a moment. I looked up and could see Robby Müller NSC BVK walking towards me down the corridor. I had not met him, but I knew what he looked like, so I was suitably stunned that such a person should be in attendance at the festival. He got closer to me, and I was torn between thinking about the seminar I was about to give and wanting to introduce myself to Robby. As he came past, I was still deciding what to do when he leant very close to my ear and said: “Don’t be a guru!” and kept walking.

At that moment the door was opened, and I was whisked inside to be introduced to the audience. These words stayed with me then and have stayed with me ever since. Never was a wiser thing said about teaching and something that set me on a path - although I didn’t know it then - to become a full-time teacher at the NFTS in the UK 19 years later.”

Oliver Stapleton BSC at Camerimage in 2018 (Credit: Alicja Abramczyk)

“M

y first Camerimage was an introduction to the wild side of cinema festivals. It was 2006, and I was invited to present a film I had shot called Red Road. I had no idea what to expect, to be honest it felt like it might be weird meeting up with loads of other camera folk to talk shop, but I forgot cinematographers are pretty hardcore when it comes to celebrating cinema! So I went along with the protocol and proceeded to have a great time partying, so much that when the day of my screening came along at 9am I was ill prepared!

I remember the poor guy who was entrusted with taking care of me had to do some serious work getting me out of bed to get up in time for the screening of my film in the main cinema in Łódź. I just remember the telephone endlessly ringing and finally waking up to hear a mildly distressed voice tell me that I was meant to be introducing the film in 10 minutes at the cinema which I reckon was 15 mins away. The shock went through me of how late I was, but I somehow got up, got dressed and ran as fast as I could through the foggy freezing streets to the screening.

I actually got there and saw the man with the cowboy hat introducing the film, so I ran down through the seats and climbed up the steps to the stage and proceeded to fall flat on my face to the amusement of the 15-30 strong audience who laughed a lot! I was obviously a little the worse for wear, but I stood up and made a rallying call to all in the cinema about how we were warriors for getting up so early to watch films we have no clue about, and I promised that they would enjoy Red Road! Then I scuttled down to the seats and started watching the film and woke up when it was over! I think they liked it. And I definitely liked Camerimage.”

OLIVER STAPLETON BSC

Robbie Ryan BSC ISC at 2018’s Camerimage where The Favourite received the Audience Award (Credit: Wiola Labedz)

ROBBIE RYAN BSC ISC Event Guide 2022 | EnergaCAMERMAGE | 11

EnergaCAMERIMAGE 2022

30 Years of Memories

“I

t was 1994, year two of Camerimage, and somehow an independent film I had photographed caught the eye of the festival and was in the Main Competition. The film, Deadbeat was shot in Tucson Arizona, and starred Balthazar Getty, of the Getty family, and Natasha Wagner, daughter of Natalie Wood and Robert Wagner. Rather interesting pedigrees. The Main Competition included two brilliantly photographed movies I never tire of watching to this day, Piotr Sobociński PSC’s Red, and Conrad Hall ASC’s Searching for Bobby Fischer. Red won the Silver Frog, and Bobby Fischer won the Bronze. The Golden Frog was awarded to two cinematographers: Arthur Reinhart for Crows and Tibor Máthé for Woyzeck.

The festival was in Toruń, Marek’s [Żydowicz’s] hometown, and it was over the American Thanksgiving weekend. I remember being touched that the cooks had managed to find wild turkeys for our dinner, tiny birds much smaller than the enormous birds eaten Stateside where they are called butterballs. But our Polish turkeys were so tender and delicious, and we appreciated being able to celebrate the holiday with our film family.

There I was, a young cinematographer with only a couple of features under my belt, having mostly photographed documentaries and music videos up to that point. I was awestruck, getting to meet so many of my heroes, including Vilmos Zsigmond ASC who was President of the Jury, John Bailey ASC, Stuart Dryburgh ASC NZCS, and Adam Holender ASC, who became my ASC sponsor several years later. I remember also meeting and hanging out with Francoise and Douglas Kirkland at the festival that year (RIP Douglas). The festival was intimate, with everyone so accessible and friendly. Although it grew and grew over the next 28 years, it never lost its magic. Imagine a world-class festival devoted to our beloved cinematography, where students rub elbows with some of their heroes and where new friends were made while reconnecting with old friends from around the globe.

I did not get back to Camerimage for several years, by which time it had moved to Łódź. I then enjoyed many years attending in Bydgoszcz, walking along the river each day to the venue.

But it all came full circle last November, when I was back in Toruń, masked and vaxxed, and as small and intimate as my first visit in 1994.”

Nancy Schreiber ASC first attended Camerimage in its second year

“IMAGINE A WORLD-CLASS FESTIVAL DEVOTED TO OUR BELOVED CINEMATOGRAPHY, WHERE STUDENTS RUB ELBOWS WITH SOME OF THEIR HEROES AND WHERE NEW FRIENDS WERE MADE WHILE RECONNECTING WITH OLD FRIENDS FROM AROUND THE GLOBE.”

NANCY SCHREIBER ASC

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Camerimage is the perfect opportunity to test the S8/i

C

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The venerable lens manufacturers, established in 1894, will be based at the historic Hotel 1231 in the heart of Toruń’s Old Town.

A ten-minute walk from the festival’s main hub at CKK Jordanki - where Cooke will also have a presence - Hotel 1231’s renovated medieval buildings will host a spacious and controlled environment for cinematographers to conduct in-depth tests.

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“The lenses have been designed and produced in a smart way using an all-spherical design which provides an organic, filmic aesthetic to accompany the latest digital film cameras,” says CEO Tim Pugh.

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Varotal/i FF range at EnergaCAMERIMAGE “It’s a filmic look.”

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DPs can try out Cooke’s new Varotal/i, S8/i and other lenses and watch the footage in a dedicated screening room in Toruń’s Old Town.

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EnergaCAMERIMAGE 2022

Lifetime Achievement Article by Adrian Pennington

I

Stephen H. Burum ASC (Credit: Douglas Kirkland)

A LIFETIME BEHIND THE LENS Stephen H. Burum ASC - whose body of work includes 1987’s The Untouchables, one of eight films he made with Brian De Palma, and 1992’s Hoffa - is the recipient of the Lifetime Achievement Award at EnergaCAMERIMAGE film festival.

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f cinematography attracts people particularly attuned to blending engineering with the creative arts, then Stephen H. Burum ASC’s destiny was decided as a child.

Growing up in Dinuba, a rural town in the San Joaquin Valley, he remembers seeing a magazine called Popular Science and Mechanics with an article on the special effects used to make the 1953 feature version of War of the Worlds.

“I was a model airplane hobbyist and I just found the FX really interesting. I wanted to try it out.”

Dinuba may have been a small town but it had three cinemas including a Spanish language theatre, a converted musical hall and a Californian state-run theatre which had the distinction of being one of the few buildings with air con.

“Mainly to escape the summer heat I would go to that cinema on matinees. They used to have a very elaborate programme on Saturdays of a newsreel and cartoon, a serial and two features. One was usually a musical, the other a western or war picture.

“I saw just about everything you can think of and it kind of seeped into me by osmosis. When I went to film school a lot of students hadn’t seen the movies I had. I instinctively understood the structure and storyline and could pick up all the dramatic cues. That was my best training, though I didn’t know it at the time.”

His parents either wanted him to get into the newspaper business (his mother’s family owned a local newspaper) or get a career in engineering or law. To appease them he planned to work for a film studio and attended the UCLA School of Theatre, Film and Television. “The plan was to start as an assistant for 10 years, then operate for another 10, then DP and head of the camera department. That type of corporate career path was very typical in the ‘60s.”

Instead, after college he leapt straight to DP aged just 23, shooting wildlife films like NBC TV series Walt Disney’s Wonderful World of Colour for Disney Studios. He even met the legend on a few occasions.

“He asked people to call him Walt and was very matter of fact and a good leader.

After I worked for about two months, I got a raise from $25 to $175 a week because Walt said he thought I was good.”

THE WAR YEARS

Burum’s upward trajectory was paused when he was drafted into the US Army as part of the Vietnam war effort from 1965 through 1967. After basic training he was assigned to produce training films at the Army Pictorial Centre in New York, where the majority of the 1200 staff were civilian. “At least I escaped being a combat photographer,” he says.

With some irony then he found himself a decade later recreating Vietnam as second unit photographer and director on Francis Ford Coppola’s epic Apocalypse Now. www.britishcinematographer.co.uk

“I was working in LA lighting video-taped TV programmes when I got a call from Francis. A typhoon had wrecked the location of a helicopter assault scene and he needed more coverage for the attack and the boat going upriver. I was trying to get into the union and said I wasn’t interested in being a second unit director.”

Burum suggested Carroll Ballard, a mutual colleague from UCLA. “Francis said, ‘Carroll said you should do it.’ They twisted my arm.”

Burum spent nine months in the Philippines, initially with Coppola and Vittorio Storaro ASC AIC, then filming under his own command.

“We were all trained by the same people so I already knew what Francis would require to piece it together. That was lucky because we’d only got dailies once a month. At UCLA I was taught that if I was interested in being a studio cameraman than I’d have to match every other camera person on the lot. Sometimes people get sick and they wouldn’t shut down so they’d have someone else just roll in. A head of camera department had to learn to shoot like everyone else. It wasn’t hard for me to figure out what they wanted.”

Burum’s army film training came in useful coordinating the local air force that Coppola was relying on to supply and fly helicopters.

“The Philippines air force only had sixty helicopters and while Francis needed big formation shots, the army was fighting a war against separatists in another part of the country. Sometimes we’d get four helis, sometimes 10 or 20, so scheduling was very difficult. The other problem was that the pilots couldn’t fly the big, tight formations we needed.

In the end we flew in some US pilots and had them interspersed among the formation.

“I knew what heli formations were and how to line them up,” Burum adds. “We’d get everyone up in the air and fly one, then we’d get everybody to assemble and turn 90-degrees.

Then we’d fly the rehearsal leg to get everyone

Burum shot 2002’s Life or Something Like It (Credit: Courtesy of the ASC Archives)

Shooting the sci-fi adventure Mission to Mars (Credit: Courtesy of the ASC Archives)

Burum worked with Francis Ford Coppola on sparky youth drama The Outsiders (Credit: Courtesy of the ASC Archives)

“FRANCIS WANTED ME TO SHOOT THE OUTSIDERS, WHICH WE DID IN 40 DAYS. HE HAD THIS RULE NOT TO SHOOT MORE THAN THREE TAKES. HE’D MAKE LONG ELABORATE REHEARSALS SO THAT ALL THE KIDS WERE ALREADY UP TO SNUFF WHEN WE SHOT.” in position, then another assembly leg. The final leg, we recorded.”

On return, he shot second unit for Ballard and Caleb Deschanel ASC on The Black Stallion (1979). When Deschanel directed The Escape Artist (1980) he asked Burum to shoot it for him, marking his first main feature DP credit.

Now he was up and running. Sidney J. Furie hired him to shoot horror picture The Entity (1982), a director whom Burum reveres as one of the very best he is worked with.

Burum (right) shooting a TV special in 1970 (Credit: Courtesy of the ASC Archives)

BRAT PACK ERA

Then came a pair of Susan Hinton novel adaptations, lean youth dramas sparkling with indie spirit which launched the Brat Pack career of actors Tom Cruise, Emilio Estevez, Matt Dillon, Rob Lowe and Ralph Macchio.

“The Outsiders was suggested to Francis by a junior high school class in Fresno. One of the students was a cousin of mine but I didn’t tell him that. Since he considered me a very efficient cinematographer, Francis wanted me to shoot the picture, which we did in 40 days. He had this rule not to shoot more than three takes. He’d make long elaborate rehearsals so that all the kids were already up to snuff when we shot. We’d sometimes only need two takes and we never printed more than one.”

As a reward, Coppola offered Burum the chance to shoot 1983’s Rumble Fish. “He asked me what I wanted to do with the film and I said to shoot black and white because it was maybe my only chance. I had shot 50 black and white films at film school and loved it. He agreed and said it was his gift to me for doing a good job.”

Monochrome is a common aesthetic choice in recent years but a rarity in theatrical releases of the time. A review from 1984 in the ASC journal was impressed: ‘Compared to even the luminous, lithographic grey scale photographed

by Sven Nykvist [ASC FSF] for Ingmar Bergman, Burum’s Rumble Fish is seared on the screen like burnt charcoal and fuming dry ice.’

His agent got him an interview with Brian De Palma who was casting for cinematographers to shoot his next project. Burum had to shoot some test material and won.

“When we first met, Brian said, ‘let me tell you what I don’t like about DPs. I don’t like those who mess around and take a lot of time.’

I said, ‘let me tell you what I don’t like about directors. Those who don’t direct. Doing both jobs is above my pay grade.’ He hired me and we had this understanding from the beginning.

I’ve had to back up some people who are pretty horrible and lazy but Brian was fabulous.” >> Event Guide 2022 | EnergaCAMERMAGE | 17

EnergaCAMERIMAGE 2022

Lifetime Achievement After Body Double the pair embarked on a further seven pictures including The Untouchables, Casualties of War, Snake Eyes, Mission: Impossible, Carlito’s Way, Raising Cain, and Mission to Mars.

The climactic sequence in The Untouchables with a pram falling in slow motion down the steps of Chicago’s Union station appears to be in homage to Sergei Eisenstein’s Odessa steps montage from Battleship Potemkin.

“It’s funny but that scene was not in the original script,” Burum reveals. “David Mamet’s script had the bookkeeper escape on a train and Elliot Ness’ team drive all night to catch it and block the railroad before a gun fight on the train, but Paramount didn’t want to spend the money. Brian’s next idea was to have Ness’ wife give birth and when he comes out of the hospital is when we have a gun fight. But we couldn’t find a suitable exterior location so the Chicago train station was used by default. It was difficult to get permission, so we had to shoot at night bringing in extra lights to shoot high speed.

Those critics who see a pram and think Potemkin should know the original was a much better sequence.”

Opening film, The Tragedy of Macbeth

Burum was nominated for the ASC Award for Outstanding Achievement in Cinematography in Theatrical Releases in 1988 for The Untouchables (Credit: Courtesy of the ASC Archives)

UNTOUCHABLE TALENT

His favourite shot in The Untouchables is a technocrane sweep of a dressed Chicago street for which the production had to fight tooth and nail for the City to agree to remove large cables and telephone poles. “The first time I saw it with the soundtrack I fist pumped ‘Yes!’ because to me it was this big Hollywood movie shot.”

He also worked with directors including Hal Ashy (8 Million Ways to Die); Bob Rafelson (Man Trouble); Joel Schumacher (St Elmo’s Fire); Ivan Reitman (Fathers’ Day) and Martin Bregman (The Shadow).

“You learn on each job. For example, there are fast actors and slow actors. Some get it on take one. Others need a dozen before they find their rhythm. Once you’ve shot the master, you have to figure out who to go to first. You want the fast actor because usually they burn out after four-five takes and you want them while they’re still hot.

Plus, it gives the slow actor extra time to get up to speed. No-one ever tells you that in film school.”

Al Pacino, who starred in Carlito’s Way, is a ‘fast actor’; “Al has so much energy in what he does it exhausts him. You just have to get him first.”

So too is Jack Nicholson, who played Jimmy Hoffa in Danny DeVito’s 1992 biopic of the union boss, Hoffa. “Jack understands movie staging so well. If you’re having trouble with an actor not hitting their mark, he can do his scene and if that person drifts he’ll be this big sheepdog and herd them in the right direction. He is totally aware of his camera and lens, the background and where the other actors are. He saved many shots on Hoffa.”

The film was praised for its cinematography, landing Burum his only Oscar nomination, but it disappointed at the box office.

“The problem was that Danny didn’t get enough time to edit it. The weakness of the picture is you don’t understand Hoffa’s motivation for what he does. That’s what Scorsese’s version (The Irishman) gets right but it was the element missing in Hoffa.

“We did a lot of dissolves for transitions rather than just cutting to the next scene. Danny wanted scenes and individual shots to evoke memories of things that happened before in the minds of the characters. One I’m proud of happens during Hoffa’s trial and we used dissolves to speed the scene up. We are telling the story symbolically rather than didactically. To me, it’s pure cinema.” n 18 | Event Guide 2022 | EnergaCAMERMAGE

As a reward for shooting The Outsiders, Francis Ford Coppola offered Burum the opportunity to shoot Rumble Fish (Credit: Courtesy of the ASC Archives) 1989’s The War of the Roses saw Burum work with director Danny DeVito, who also acted in the film (Credit: Courtesy of the ASC Archives)

“DANNY WANTED SHOTS TO EVOKE MEMORIES THAT HAPPENED BEFORE IN THE MINDS OF THE CHARACTERS. ONE I’M PROUD OF HAPPENS DURING HOFFA’S TRIAL AND WE USED DISSOLVES TO SPEED THE SCENE UP. WE ARE TELLING THE STORY SYMBOLICALLY RATHER THAN DIDACTICALLY. TO ME, IT’S PURE CINEMA.” www.britishcinematographer.co.uk

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EnergaCAMERIMAGE 2022

What’s on

All Quiet on the Western Front dir. Edward Berger, cin. James Friend ASC BSC

SEMINAR, MASTERCLASS, AND EXHIBITION HIGHLIGHTS

ON THE AGENDA

As ever, there are plenty of seminars, masterclasses, and workshops to educate and inspire festivalgoers at this year’s EnergaCAMERIMAGE. Plan your time at the festival with our handy guide and get to know this year’s award recipients.

MAIN COMPETITION NOMINEES l All Quiet on the Western Front - dir. Edward Berger, cin. James Friend ASC BSC l Angel in the Wall, The - dir. Lorenzo Bianchini, cin. Peter Zeitlinger ASC l Bardo, False Chronicles of a Handful of Truths - dir. Alejandro González Iñárritu, l l l l l l l l l

cin. Darius Khondji ASC AFC Blonde - dir. Andrew Dominik, cin. Chayse Irvin ASC CSC Elvis - dir. Baz Luhrmann, cin. Mandy Walker AM ASC ACS Empire of Light - dir. Sam Mendes, cin. Sir Roger Deakins CBE BSC ASC Living - dir. Oliver Hermanus, cin. Jamie D. Ramsay SASC Perfect Number, The - dir. Krzysztof Zanussi, cin. Piotr Niemyjski PSC JSC Tár - dir. Todd Field, cin. Florian Hoffmeister BSC Top Gun: Maverick - dir. Joseph Kosinski, cin. Claudio Miranda ASC AMC War Sailor - dir. Gunnar Vikene, cin. Sturla Brandth Grøvlen DFF White Noise - dir. Noah Baumbach, cin. Lol Crawley BSC

20 | Event Guide 2022 | EnergaCAMERMAGE

ACS Seminar: A Wider Lens: Australian Camera Workforce Development and Diversity A world-first study, reported in BC 113, has revealed the shocking and systematic inequality, discrimination and a lack of diversity faced by camera workers in the Australian film industry. Hear from ACS National President Erika Addis and report authors, including Dr Amanda Coles, as they share their findings from this critical work and the all-important recommended next steps.

AFI Conservatory Cinematography Programme by Stephen Lighthill ASC ASC president Stephen Lighthill, head of the American Film Institute (AFI) Conservatory Cinematography programme, welcomes all festival attendees to a discussion of the AFI conservatory approach to filmmaking education with an emphasis on the cinematography discipline. He will be joined by recent alumni at this reception and conversation about the AFI. BVK Seminar: Who supports the DOP in the camera department? Recruitment and Training as a Challenge With recruiting in many assistant professions (1st and 2nd ACs, colourists and so on) proving problematic, BVK general manager Dr. Michael Neubauer will moderate an international exchange of experiences exploring both the current situation and suggestions for improving the difficult situation of young people in the assisting professions.

FilmLight Colour Awards & Seminar FilmLight is hosting the 2022 Colour Awards at EnergaCAMERIMAGE. The event is open to all visitors and there will be an opportunity to hear from the talents behind the looks before the 2022 Colour Award winners are crowned.

HBO Camera Assessment Test screening + Q&A The world premiere of the HBO Camera Assessment Series 2023 will precede a candid discussion and Q&A with Stephen Beres, SVP, HBO’s production operations, and Suny Behar, director and cinematographer. www.britishcinematographer.co.uk

Top Gun: Maverick dir. Joseph Kosinski, cin. Claudio Miranda ASC AMC

How the science of vision affects the art of cinematography - A Canon Seminar with Ian Murray To truly understand cinematography, Ian Murray had to go back to the greatest lens ever designed - the human eye. His research opened up a new universe of questions about how we create, perceive, and interpret images.

Making of Notre-Dame on Fire Notre-Dame on Fire is a heartwrenching film about the NotreDame de Paris fire of April 2019.

Director Jean-Jacques Annaud, production designer Jean Rabasse and cinematographer Jean-Marie Dreujou AFC will explore the fascinating production process.

Meeting With Bill Mechanic - Movies from the Past/Developing Scripts/Changing Finance and Distribution and More Industry veteran Bill Mechanic will discuss his experience of working in the Hollywood film industry for over 20 years. His vast achievements include producing Hacksaw Ridge, Coraline and Dark Water through his company Pandemonium Films.

Nigel Dick Seminar: 12 Things They Don’t Teach You in Film School Nigel Dick will share his experience, advice and anecdotes which come directly from his experience of shooting over 760 productions all over the world. It’s a unique chance to learn useful tips you won’t hear at film school from the director of over 400 music videos.

Roundtable. Session with students conducted by Oliver Stapleton BSC and Stephen Lighthill ASC Knowing the value of the festival for the younger generation, this year the Student Etudes panorama will be followed by a round table session for equal and open discussion devoted to cinema. The authors of the presented films will be joined by acclaimed filmmakers Oliver Stapleton BSC and Stephen Lighthill ASC. ZEISS seminar: Framing Triangle of Sadness,

by Fredrik Wenzel FSF Fredrik Wenzel was the cinematographer on Ruben Östlund’s three latest films, Force Majeure, The Square, and most recently Triangle of Sadness. Having switched to a large format camera and ZEISS Supreme Primes for the latter, Wenzel will share a detailed description of the thorough process of framing this satire comedy in collaboration with the director, with a new perspective on focal lengths.

Living - dir. Oliver Hermanus, cin. Jamie D. Ramsay SASC

War Sailor - dir. Gunnar Vikene, cin. Sturla Brandth Grøvlen DFF

Elvis - dir. Baz Luhrmann, cin. Mandy Walker AM ASC ACS

Vance Burberry Presents: Underwater Cinematography For the past 20 years, Vance Burberry has served as an instructor trainer for National Association of Underwater Instructors. He is also the author and tutor of a professional underwater cinematography course as part of an official NAUI sanctioned programme, which he will discuss in his seminar.

Walter Murch Presents: The Golden Ratio in Cinematic Framing 2015 Camerimage Golden Frog laureate Walter Murch will explore the trend, when composing Closeups and Medium Closeups, of placing the eyes of actors along the Golden Ratio of the vertical dimension of the frame.

Painting Tumult 1979-1988. Mülheimer Freiheit The exhibition ‘Painting Tumult 19791988. Mülheimer Freiheit’ at the Centre of Contemporary Art Znaki Czasu in Toruń is curated by festival founder Marek Żydowicz.

The exhibition will be the first in Poland presenting works by the group of German neoexpressionists being active in Cologne in the first half of the 1980s. It will be open for visitors from 13 November to mid-April 2023.

“Cinematographers at War” on filmmakers working near the frontline In the wake of the Russian invasion of Ukraine, this panel discussion will bring together Ukrainian cinematographers who will share their experiences since February 2022. The seminar will revolve around filming in front line areas, working with film equipment in these conditions as well as the issue of whether to film or not.

HFF Munich to Peter Zeitlinger Masterclass: Enemies of Creativity Peter Zeitlinger guides attendees through the maze of temptations and distractions from our creative pursuits in this practical seminar.

Any Questions?

If you’ve got a burning question to ask a cinematographer, this is your chance! Please send your questions in ahead of time to anyquestions@camerimage.pl and, if selected, you will have the chance to ask the question at the seminar.

Get Noticed This panel discussion directed at budding filmmakers taking their first steps sees four representatives of talent agencies share advice on how you can stand out from the crowd. Share your experiences and meet key professionals.

NOT TO MISS Maria Shaleva seminar Meeting with Ulrike Ottinger Angénieux workshops ARRI Big Screen Experience Three ARRI seminars ARRI workshops ASC Legacy seminar on Sven Nykvist ASC FSF Astera seminar with Colin Tilley How to take the viewer on an emotional roller coaster ride: Set notes from Top Gun: Maverick (with DP Claudio Miranda ASC AMC) l Meeting with Stephen H. Burum, EnergaCAMERIMAGE 2022 Lifetime Achievement Award recipient l Rosco seminar: Planning the Virtual Production Set >> l l l l l l l l l

Event Guide 2022 | EnergaCAMERMAGE | 21

EnergaCAMERIMAGE 2022

What’s on

SPECIAL AWARDS RECIPIENTS Vance Burberry – Award for Achievements in the Field of Music Videos The countless stars that Burberry has worked with in his impressive career include Celine Dion, Cher and Guns N’ Roses. To this day his love of light and creating worlds for the camera has never faded.

Stephen H. Burum ASC – Lifetime Achievement Award Burum is one of the foremost American cinematographers, whose work in the 1980s on a number of visually impressive films shaped the cinematic tendencies of the decade.

Alex Gibney – Award for Outstanding Achievements in Documentary Filmmaking Gibney’s unrivalled body of work spans decades of relentless investigative curiosity and extensive journalistic research.

Sarah Greenwood – Special Award for Production Designer If you love cinema, it is entirely possible that among your favourite films there is at least one on which Sarah Greenwood worked as a production designer.

Ulrike Ottinger – Avant-Garde Achievements in Film Ottinger’s body of work is distinguished by unique formal searches, unlimited visual imagination and bold technical experiments.

As well as director, she was also the cinematographer for most of her films.

Hype Williams – Award for Achievements in Music Video for Director A legendary avant-garde visual artist and filmmaker, Williams’ work has ignited the imaginations of viewers around the world.

Blonde - dir. Andrew Dominik, cin. Chayse Irvin ASC CSC

UKRAINE IN THE SPOTLIGHT Camerimage is showing its support for its neighbour by hosting the third edition of the OKO International Ethnographic Film Festival from 13-18 November, which could not take place in Ukraine due to the Russian invasion.

From 1,171 submissions from 104 countries, the festival’s programmers have selected eight features and 16 short ethnographic documentaries to compete for a cash prize.

Alongside the competition, there will be a series of special screenings of Ukrainian films.

FEATURE COMPETITION l A Portrait on the Search for Happiness - dir.

Benjamin Rost, Germany (about South Africa l Ophir - dir. Olivier Pollet, France (about New Guinea) l The Chinese will come - dir. Tanja Brzakovic, Sam Mendes - Special Krzysztof Kieślowski Serbia (about Serbia and China) Award for Director l I am Chance - dir. Marc-Henri Wajnberg, Empire of Light is the latest blockbuster from the Belgium (about Congo) esteemed British film and stage director, producer l Yonaguni - dir. Anush Hamzehian, Vittorio and screenwriter, and will open this year’s festival.

Mortarotti, France (about Japan) l Iwianch, the Devil Deer - dir. José Cardoso, Ecuador Perfect Number, The l Scattered Throughout the Inland dir. Krzysztof Zanussi, dir. António Aleixo, Portugal cin. Piotr Niemyjski PSC JSC l Map of Latin American Dreams - dir. Martín Weber, Argentina (about Latin America)

22 | Event Guide 2022 | EnergaCAMERMAGE

Empire of Light - dir. Sam Mendes, cin. Sir Roger Deakins CBE BSC ASC

SHORT COMPETITION l Zenerù - dir. Andrea Grasselli, Italy l Brave - dir. Wilmarc Val, France (about Haiti l Polepole - dir. Andrea Gatopoulos, Greece (about Zanzibar) l Nachunema. Ramiro’s trial - dir. José Francisco Lara, Ana Hilda Vera, Mexico l Timkat - dir. Ico Costa, Portugal (about Ethiopia) l Tails of Men - dir. Ananthakrishnan Pillai, Monica Bustamante, Boton Pushok, Charlotte Muller, Hungary l Nomad Girl - dir. Rouhollah Akbari, Iran l Spirit of Place - dir. Ali Alghanim, Saudi Arabia l White Daughter-in-Law - dir. Bojan Dakić, Serbia (about Roma) l La Quebradilla - dir. Víctor Villegas, Chile l Front - dir. Dina Uglešić, Croatia l I wanted to know who I am - dir. António Aleixo, Portugal l Dourado - dir. Marx Braga, Brazil l Ederlezi: Spring Comes To The Neighborhood dir. Nesli Ozalp Tuncer, Yunus Tuncer, Turkey l The Wormwood Star - dir. Adelina Borets, Ukraine l Going Alone - dir. Raphael Schanz, Germany SPECIAL SCREENINGS l Mustache Funk - dir. Oleksandr Kovsh, Ukraine l Diary of a Bride of Christ - dir. Marta Smerechynska, Ukraine l Terykony - dir. Taras Tomenko, Ukraine l The Stronghold - dir. Yuriy Kovalyov, Ukraine n

www.britishcinematographer.co.uk

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EnergaCAMERIMAGE 2022

Market Exhibitors

Aputure will be bringing its LED technology to Poland

BEST IN SHOW Meet the gear brands who’ll be setting up shop at the Festival Centre.

Atlas Lens Co. will be bringing a range of lenses

Discover the latest Cinema EOS cameras and lenses at Canon’s stand

26 | Event Guide 2022 | EnergaCAMERMAGE

A

t Anton/Bauer, this year’s Camerimage highlights include the new VCLX NM2, an all-in-one battery solution designed to drive high-power draw equipment at peak performance on cinematic productions.

Visitors can also see the DIONIC native 26V battery series, crafted for high-power cinematic cameras such as the new ARRI Alexa 35.

Aputure will be showcasing some of the latest technological advancements when it comes to LED lighting for high-end filmmakers, such as the LS 1200d Pro flagship model, the MT Pro (Aputure’s first tube light), along with the upcoming MC Pro, in high demand since its first appearance at NAB. On the ARRI stand you’ll find some of its big-hitting cameras including the Alexa 35, Alexa Mini LF, ARRI Signature Prime and Zoom lenses, and Trinity 2. Lighting-wise, there’s the Orbiter and its brand-new Projection Optics, the Fresnel lens, and Docking Ring. ARRI is also hosting a screening and live panel discussion on lenses, as well as a seminar detailing the applicable workflows for the new Alexa 35 camera - sure to be in demand.

A highlight of Astera’s Camerimage offering will be its just-launched HydraPanel, a unique ‘pixel panel’ product. Of course, the Titan Tube family of products will be there too, along with a range of their ingenious DoP Choice ‘light-refining’ accessories, including a new SnapBag for 4 HydraPanels. Also not to miss are the German firm’s PixelBrick and PAR products.

Atlas Lens Co. will bring its Orion Series, Orion Silver Edition, and the recently released Mercury Series to Camerimage. The Mercury Series features 1.5x front anamorphic cinema lenses which features full-frame coverage, a 1.5x squeeze ratio with enhanced bokeh, a significant reduction in physical size and weight, and warm vintage tones - all while providing the same modern, mechanical conveniences demanded by professionals.

Canon will be providing educational seminars from industry professionals such as Marcel Mettelsiefen and Ian Murray, as well as inviting attendees to network at a Canon hosted dinner party. As usual, a dedicated Canon stand can also be found at the Camerimage Market where the brand’s latest Cinema EOS cameras and lenses will be available to try.

Fresh from its success in the Grip & Accessories category at this year’s Film & TV Kamera Awards, Cinetica will be presenting its new NU.TRON 4.0, its innovative camera stabiliser with a huge variety of variations for free tracking shots. It’s ideal for repeating low to high transitions and classical hero shots. The operator is free of any physical load and can focus solely on the scene. Top shots, whether static or dynamic, are accomplished within seconds whereas the operator is always supported by promoting ergonomic work. It’s easy to transport and assemble, set up by two people in seven minutes and it fits in a medium-sized car.

CODEX will showcase the latest versions of its ultra-high-performance camera recording media for the Alexa Mini LF and Alexa 35, Media Vault edge storage appliances and a new edge cloud-based production platform for transferring, storing and processing original camera files.

Camerimage will also feature new PIX: the latest generation of the most trusted review and approval platform filmmakers use, featuring 4K UltraHD HDR, Live camera monitoring, and proxy workflows for cloud-connected and disconnected off-grid collaboration workflows that support up to 10-bit HEVC HDR streams.

Cooke Optics will be present at Camerimage in both DP Ari Wegner on set with the new the Marketplace and ARRI Alexa 35 an off-site location in Hotel 1231. Visitors will be able to shoot with Cooke S8/i and Varotal/i lenses in a controlled environment and view footage in a dedicated 4K screening room. Cooke will also host a series of technical presentations in small groups. >> www.britishcinematographer.co.uk

EnergaCAMERIMAGE 2022

Market Exhibitors

The new LNX (pronounced ‘lynx’) rigging system for Creamsource’s Vortex series LED fixtures will be presented by the brand at Camerimage. Designed to bring consistency and cohesiveness to a historically disordered aspect of lighting, LNX simplifies rigging and cabling with a series of purpose-built clamps and pins for the Vortex Series.

Dedo Weigert will be back at Camerimage to showcase their range of lighting products. These include the dedolight Lightstream range, with the new Lightstream Table Top. There will also be the dedolight Neo Revolution, revealed after three years of intensive development work. It’s a new electronic ballast system that can feed 34 different focusing LED dedolights; now with smooth dimming, all the way down to 0.1%.

At DoPChoice’s stand, visitors can see the new Fat-Rabbit and 8ft Double-Hex Snapbag, 6’x5’ Snapbags and matching Snapgrids, adding creative lighting control with large and multiple fixture arrays for ARRI SkyPanel 360, Triple/Double DMG/Rosco MAXI Mix, Prolight XL Panels, 4X Litepanels Gemini 2x1, and more.

The Fat-Rabbit mount offers a variety of configurations to mate fixture combos, creating soft, flattering lighting and accepts new lights via adapters. Meanwhile, the new 8ft Double-Hex Snapbag sets up easily, stores compactly, and features a reflective interior, removable Magic Cloth diffuser, and carry bag.

Freelensing Cine’s optical adaptation system will be on display. The system allows the universal use of any PL mount lens (spherical, fixed) on most commonly used digital cameras today, allowing displacements parallel and perpendicular to the focal plane, rotation of the optical centre and the combination of both movements, displacement and inclinations.

The latest Fujinon mirrorless digital cameras and premium lenses range will be on show to visitors.

Pride of place on the stand are the signature Premista series, along with the Cabrios lenses and their detachable digital servo grips. Also not to miss are the GFX100S and X-H2S. Try out Irix’s range of lenses on their stand. The current line of lenses consists of a set of full-frame, weather-sealed optics: 11mm, 15mm, 21mm, 30mm, 45mm, and 150mm. They are all designed with very low focus breathing and a similar low weight, making them gimbal friendly. They also have a Magnetic Mount System for the filters a super-fast way to work with NDs. 28 | Event Guide 2022 | EnergaCAMERMAGE

Dedolight has completed its Lightstream family with the Lightstream Table Top

Look out for Leitz’s newest full frame primes - the Leitz HUGO and Leitz ELSIE lens families. Both sets of lenses provide excellent coverage with their own unique character that sets them apart from other Leitz lenses. Visitors can also explore the high speed Leitz PRIMES and one of the most beautiful sets of zoom lenses available, the Leitz ZOOMS. Litepanels’ new Gemini 2x1 Hard RGBWW LED Panel is its brightest 2x1 panel, delivering up to 23,000 lux at 3m (10ft) of output from a lightweight, compact fixture. It produces highly accurate full spectrum white light as well as RGB output and a range of creative cinematic effects

Recently awarded the Cine Gear Tech Award 2022, Moon Smart Focus from Moonlighting Industries is an AI-powered distance measure assistant, built to be the best friend of the focus puller. The vision of this new tool is to remove production workflow bottlenecks and free up time for acting and storytelling. By continuously delivering distance data to the eyes of all actors on set, the focus puller can spend less time taking marks and pay less attention to the monitor.

NANLUX will showcase the whole range of trustworthy and powerful LED fixtures for larger scale productions. Leading the family will be the newly released Evoke 1200B Bi-colour LED Spot Light and its daylight balanced sibling. Both lights feature 1200W power draw Creamsource’s LNX is a and can be comparable to a 1.8KW new rigging system for its Vortex series LED fixtures PAR or 2.5KW HMI Fresnel. Making the party more colourful will be Dyno 650C/1200C RGBWW soft panel lights with a variety of colour modes, such as HSI, RGBW, GELS and XY Coordinates. >>

Irix will be bringing a full set of optics and filters to Camerimage

www.britishcinematographer.co.uk

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info@bromptontech.com

+44 (0)20 7471 9444

EnergaCAMERIMAGE 2022

Market Exhibitors

Qinematiq’s Smart Ranger 2

NANLITE will specialise in the demands for prosumers and content creators with its Forza and PavoTube line-ups. Forza 720/720B can take care of every specific requirement in terms of power all the way up to 800W, while PavoTube II X series complements with their colour capabilities to make the set-up more versatile. Special mention to the new Forza 60C LED hard light powered by a RGBLAC six-colour system and built upon the strengths of classic Forza 60/60B with hardware and colour fidelity improved considerably.

The OConnor Ultimate 1040 system combines the world-renowned precision and versatility of OConnor’s fluid heads with the unique speed of flowtech’s carbon-fibre tripod technology, allowing professional camera operators to move from heavier to lighter payload camera setups quickly and without compromise.

Award-winning Austrian range finder developer and manufacturer Qinematiq will be

putting the focus on focus on its stand. The Smart Ranger 2 combines traditional ultrasonic measurement with so called Tags (little boxes) for long distances. They work up to 80m (260ft) and can be placed nearly anywhere like inside cases, behind glass or walls, etc. Two of them can be used at once. The second product is the Focus Buddy, the first ever add-on for Cinetape and ARRI UDM range finders. Connect them to the Focus Buddy to combine short and longdistance measurement.

Quasar Science will be showcasing its Rainbow 2 and Double Rainbow tubular LED lights, which create intense, realistic lighting with multiple individually controllable pixels. All Rainbow fixtures feature Quasar’s RGBX unique Spectral Science Colour Engine (RGBX SSCE) that uses more than one quintillion diode combinations to produce over one billion unique colours.

Sony’s cinema cameras will be back at Camerimage. The brand will also be hosting two seminars on key industry trends. Sony Litepanels’ new Gemini 2x1 will be exhibiting its cinema Hard RGBWW LED Panel is line and CineAlta cameras at its brightest 2x1 panel the show, including the ILME-FR7, the world’s first PTZ camera with lens interchangeability and remote shooting functionality, especially designed for cinema. Also check out the VENICE Extension System 2, CBK-3620XS, which was announced in September.

SUMOLIGHT will be bringing the multiaward-winning SUMOMAX to Camerimage, as well as the entirely new concept in professional lighting, the SUMOLASER; a one-of-a-kind LED laser with a 2.6° beam angle and an output of 150,000 lux at 100m. Visitors will can also see the SUMOSKY, a portable and quickly expandable display and lighting system.

The lighting systems manufacturer will also be partnering up with various manufacturers to bring BTS user experience, workshops and panels to this years’ attendees and will host several Happy Hours at the booth with a glass of Crémant and cheese.

Full-service German rental house and lens manufacturer Vantage Film will be presenting the company’s cutting-edge Hawk lenses. Camerimage marks the official international product launch of Vantage Film’s Hawk MHX Hybrid Anamorphics.

The new Supreme Prime 15mm will draw visitors to ZEISS’s stand, where the brand will be showcasing their portfolio of high-end cinematographer lenses. CinCraft Mapper will also be available for on-site demonstrations, showing how distortion and shading data for VFX workflows can be obtained at the click of a button, removing the process of shooting and analysing lens grid information.

One to watch is the ZEISS seminar with cinematographer Fredrik Wenzel FSF: Framing Triangle of Sadness, taking place on 15 November at 1-2pm.

Also exhibiting are Samyang (Focus Nordic), Filmotechnic, K5600, LG and TRP Worldwide (no product details available at time of going to press). n

SUMOLIGHT will be presenting its latest products as well as bringing BTS user experience, workshops and panels to Camerimage attendees

30 | Event Guide 2022 | EnergaCAMERMAGE

www.britishcinematographer.co.uk

Beautiful look.

Full control.

ZEISS Supreme Prime Radiance Lenses ZEISS Supreme Prime Radiance lenses enable cinematographers to create beautiful, consistent and controllable flares in the image while maintaining contrast and avoiding transmission loss. Yet, they offer all the attributes of a modern cinema lens: large-format coverage, high speed of T1.5, robustness and smooth and reliable focus – all in a small, light-weight package. From the inventors of anti-reflective lens coatings. Made in Germany. www.zeiss.com/cine/radiance