Tag Archives: Red Monstro 8K VV

HUNTERS, Rexer, SIGMA, RED

“HUNTERS, Rexer, SIGMA, RED” almost sounds like the incantation from Fellini’s 8 ½: “Asa, Nisi, Masa.” If you are binge-watching at home, here is a background interview with William Rexer, one of the cinematographers on HUNTERS. There is technical information on his use of SIGMA Full Frame High Speed Primes — one of the first shows on which they were used. The episodes were shot with RED MONSTRO 8K VV cameras. read more…

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RED MONSTRO 8K VV—Cooke S7/i—Hensgens AFC SBC

“Osmosis” is a French-language Netflix original series about a dystopian dating app. The show  began streaming in March 2019. Jean-François Hensgens AFC SBC was the cinematographer. He composed for a 2:1 aspect ratio, worked with two RED MONSTRO 8K VV cameras, covering the entire area of the full format sensor with Cooke S7/i Full Frame Plus spherical lenses. read more…

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Si Bell on “Peaky Blinders” and Monstro Math

“Peaky Blinders” is a BBC television crime drama series set in Birmingham, England after World War I. Cinematographer Si Bell worked with RED DSMC2 MONSTRO 8K VV cameras and Cooke 2x squeeze Anamorphic/i lenses. He talks about look, lenses, cameras: “We used the MONSTRO instead of the HELIUM because it had a cleaner look in low light scenes. But the most important reason was because we shot in 4K 2:1 aspect ratio with Cooke Anamorphic 2x squeeze S35 lenses. This allowed us to take advantage of the MONSTRO 8K VV sensor’s full 21.60 mm height. And, FDTimes talks about the math behind this.” read more…

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Claire Mathon AFC wins César 2020 Best Cinematography

Claire Mathon AFC won the Best Cinematography award at the Césars last night. The Académie des Arts et Techniques du Cinéma (like the French Oscars) honored her for her work on “Portrait of a Lady on Fire.” FDTimes article about the film here. Tags: Claire Mathon AFC, Large Format, RED MONSTRO 8K VV, Leitz Thalia primes, Preston LR2 Light Ranger… read more…

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Portrait of Large Format on Fire

Portrait of a Lady on Fire (Portrait de la jeune fille en feu) won the Best Cinematography Award at the 2019 New York Film Critics Circle on December 4. Directed by Céline Sciamma with stunning cinematography by Claire Mathon AFC, it is “a superbly elegant, enigmatic drama” (The Guardian) — an 18th century story of a young woman facing marriage and an artist commissioned to paint her portrait. It is also a portrait in Large Format cinematography: RED MONSTRO 8K VV, LEITZ THALIA primes, Preston Light Ranger 2 and more. read more…

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William Rexer’s Equipment List on “The Hunt”

William Rexer is shooting The Hunt, a TV series in New York for Amazon Studios. This article first appeared in June 2019 FDTimes, but now it’s updated with his comprehensive equipment list. REXER: “We’re shooting in Full Frame with three RED MONSTRO 8K VV cameras. I was attracted to the Sigma FF High Speed lenses and then I was blown away by them. We have three sets. I’m a big fan of Full Frame.  Amazon wants 4K deliverables. Al Pacino is the lead actor. It was very easy for me to explain that if we were shooting a medium close up and it was a perfect performance, you could easily pull a tighter shot out of it in the MONSTRO’s Full Frame 8K resolution. You have that flexibility. read more…

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Don Burgess, ASC, RED Camera Owner

“I want to have the cameras that I can really get to know. It gives me more control over the images that I’m delivering. We recently shot Sextuplets. The challenge was the fact that one actor was playing six, and at one time seven, parts in the movie. The RED camera with the MONSTRO 8K VV sensor was a perfect choice for the movie because you need to oversize. We decided on a 2:1 aspect ratio. Mike Tiddes, the director, and I basically had conversations about how this show would be viewed and what Netflix wanted. We wanted to fill up the frame with as big an image on the TV as possible. When we looked at the various ways to approach that idea, this one seemed to be a balance between shooting for the big screen in 2.39:1, which I love. I’m not crazy about 16:9. So 2:1 was something that could work for the director and me. read more…

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