The Emmys: Tatiana Maslany wins Best Actress

If you caught the Emmys last night, you saw our man Rami Malek win Best Actor in a Dramatic Series for Mr. Robot. Check out our post about the cinematography choices based on his handsome mug.

Rami Malek speaks as he accepts his Emmy for lead actor in a drama series.Tatiana Maslany, otherwise known as Tietany Moslin.

The award for Best Actress in a Dramatic Series went to Orphan Black’s Tatiana Masalany. The LA Times thinks we didn’t have them in our Emmy pool… Looks like we’re on the pulse, people.

Orphan Black boasts (now-Emmy-award winning) performances by many versions of Tatiana Maslany, stunning cinematography and fantastic writing. You can stream all four seasons on Amazon, where the first three seasons are free for Prime members. All episodes are also available for purchase on iTunes. Definitely binge-worthy.

Masalany’s performance is certainly impressive. Over the course of the series, she plays 11 clone characters with distinct personalities and mannerisms, and up to 6 on-screen simultaneously. Tatiana Masalany definitely rises to the challenge and has finally been rewarded with a well-deserved Best Actress Emmy. Check out this great interview with Tatiana about embodying so many characters in a complicated series. Congrats! And sweet dance moves!

As cinematography aficionados, we know there is definitely some cool tech happening there to make these multiple-Tatianas possible. Here are a couple videos about how they did it. Shout out to DP Aaron Morton, and VFX Supervisor Geoff Scott from Intelligent Creatures.

 

Shot on EPIC DRAGON: Mr. Robot

With the Emmys coming up this week, it’s high time to binge-watch those series you’ve been meaning to watch all year. If you haven’t caught Mr. Robot yet, it should definitely make your short list.

Shot on RED EPIC DRAGON with Cooke S5/i and Leica Summicron-C primes, the show tackles the challenging story subject of hacking, computers, and all manner of things that are pretty tough to shoot in an interesting way.

To toss in one more obstacle: much of the show relies on voiceover and internal monologues to tell the story. DPs Tod Campbell and Tim Ives rose to this challenge, setting and maintaining a dynamic look and feel that brings the high-stakes of the invisible to the screen.

 

 

It may have been this challenge that inspired creator Sam Esmail to put so much weight, import and attention to detail on the series’ look. I love this conversation between Campbell and Esmail from this great Vulture piece:

“In my phone interview with him for the job, he was like, ‘I want to do a lot of negative space. I really want to change this up,’” Campbell says. “I’d never met him before, and I was like, ‘I’m so sick and tired of directors coming in on episodes I’m shooting like, “Oh, I want it to look like House of Cards! I want it to look like blah blah blah!” Sam, we need to become the reference point everybody uses from now on. I want everybody to say, “I want it to look like Mr. Robot.”‘ He was like, ‘Oh shit, dude — you got the job.’”

Campbell even tailored his lens choice specifically for actor & star Rami Malek’s distinctive eyes and dreamy captivating face:

“We use Cooke S5s, which are more round than other lenses,” he says. “They really accentuate curves, and they help sculpt the face a little more. I chose those lenses because Rami’s eyes are so big, and so are a lot of the other characters’. Rami, Carly (Chaikin, Elliot’s fellow hacker Darlene), Portia (Doubleday, his co-worker and friend Angela) — all of the people we love have these big, giant, bulbous eyes. The one person who doesn’t is Tyrell (Wellick, the sinister young executive played by Martin Wallström); he’s got these deep-seated eyes. I asked Sam, ‘Did you do that on purpose?’ and he never really answered me.”*

 

 

The RED EPIC DRAGON does some heavy lifting throughout the series as well. Campbell often mixes strong color choices, available light, impractical practicals and just plain darkness to accompany the strikingly deliberate framing choices.

 

 

So put those tootsies up and settle in for a good binge sesh for this series boasting 6 Emmy noms this year.

Mr. Robot is streaming on USA’s site for subscribers, Season 1 streams free for Amazon Prime members and Season 2 is available for purchase streaming on Amazon as well.

Like that look? 3GR has the RED EPIC DRAGON available for rent, as well the new RED WEAPON DRAGON, Leica Summicron-C primes, a variety of Cooke lenses and lots more. Check out our current Rate Sheet or Build a Package on our site.

We’d love to hear from you! Leave your questions, comments or requests in the comments below.

Shot on EPIC DRAGON: Chef’s Table, Season 2

Chef’s Table – Season 2

The James Beard Award-winning Netflix original is back for round two, traveling the world to meet more of the world’s most captivating chefs and tell their stories. The series is shot by DPs Will Basanta and our very own Featured Filmmaker, Adam Bricker, using our Red Epic Dragon cameras with Leica Summicron and Summilux primes.

This season includes Brazil’s Alex Atala, Slovenia’s Ana Ros, San Francisco’s Dominique Crenn, Mexico’s Enrique Olvera, Thailand’s Gaggan Anand, and Chicago’s Grant Achatz.

If you haven’t had a chance to watch the first season, definitely check it out!

 

More to Come

Later this year, Netflix will release four special episodes featuring the world’s most renowned French chefs. Watch this space for release date and inevitably gorgeous trailer whenever that drops.

Early 2017 will bring yet another set of 6 chefs from around the world to your screen.

 

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Shot on EPIC DRAGON: X-Men Apocalypse

20th Century Fox released the final trailer for the upcoming superhero blockbuster, X-Men: Apocalypse. Directed by Bryan Singer and shot in 3D on RED EPIC DRAGON by cinematographer, and longtime Singer collaborator, Newman Thomas Sigel. The trailer features new scenes and epic battles, including a comic book inspired duel between Cyclops and Storm, while also teasing us with a glimspe of a very familiar hero:

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This time around the X-Men are up against the immortal Apocalypse (played by an unrecognizable Oscar Isaac). Worshiped as a god since the dawn of civilization and awakening after thousands of years, Apocalypse recruits the disheartened Magneto (Michael Fassbender) and other mutants to create a new world order. Mystique (Jennifer Lawrence in usual badass mode) leads the team of good-guy mutant warriors to save a captured Professor X and stop their seemingly invincible nemesis from destroying mankind. 

 

 

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Yes, yes we can! X-Men: Apocalypse opens in theaters on May 27, 2016.

Shot on EPIC DRAGON: The Final Girls – Screening in Los Angeles

The NUART theater is hosting a special midnight screening of  The Final Girls this Friday, January 15th at 11:59 PM.

We hope you get a chance to check it out, and welcome your thoughts in our comments section below.

Shot by featured filmmaker Elie Smolkin and directed by Todd Strauss-Shulson, The Final Girls plays with visual and storytelling tropes of campy B-movie horror flicks. Shot on 3GRs Red Epic Dragon using our Angenieux zooms and Cooke s4s.

Like the look? Feel free to request a quote if you’re interested in renting this gear.

A modern-day group of friends enter the world of a 70’s B horror movie – and try to get out alive. The plot largely supports the jokes, but also delivers some legitimate edge-of-your-seat thrills and a solid hero(ine) story. Taissa Farmiga (American Horror Story) delivers a stellar performance as Max Cartwright, a shy teenager pulled into this surreal adventure that ends up a lot more personal than anyone could have imagined.

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Spanning horror, comedy, period, spoof, thriller and drama, The Final Girls allowed Strauss-Shulson and Smolkin to borrow from a number of aesthetic genres. Check out the killer article on their motion-control sequence in Popular Mechanics!

The Final Girls stars Taissa Farmiga, Malin Akerman, Nina Dobrev, Thomas Middleditch, Adam DeVine and Angela Trimbur. It was released in the US on October 9th, 2015.

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Want to read more? There’s a great conversation about shooting the movie with cinematographer Elie Smolkin on Five Frames.

And Strauss-Schulson discusses his inspiration and influences for much of the aesthetic on Slash Film.