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Category: Filmmaking Page 3 of 5

Screenwriter’s Roundtable


I guess most people agree that any kind of documentary is also some kind of storytelling. So I’ve always been a skeptic when it comes to the notion of the “objective” documentary film, which many people still insist is actually possible.

Going back to Nanook Of The North (Flaherty, 1922), the documentary has never been an objective representation of “truth”. Two obvious questions arise. Is such a thing possible? And would that really be the aesthetic, social, and political ideal for a documentary film?

In recent years, debates about the Michael Moore and Al Gore films have highlighted this issue. For Norwegian readers, here’s a recent piece by a colleague of mine, regarding a conflict between a documentary filmmaker and the NRK network. I’m fond of the professor’s focus on the difference between “documentary” and “documentation”.

Aronofsky used Canon DSLRs on Black Swan

Being fans of Darren Aronofsky’s work, we’re anxiously awaiting the opening of his latest feature Black Swan. Like Aronofsky’s previous films, this was also shot by his DP Matthew Libatique.

American Cinematographer brings a very interesting interview with Libatique in their latest issue. This time around the talented DP decided to bring out the Canon 7D to shoot some of the scenes, in addition to the Super 16 and Arri cameras.

Libatique on working with the 7D:

The 7D has more depth of field than the 5D, but I needed that because I didn’t have a follow-focus unit and needed to work really fast. I shot everything documentary-style. I did all the focus pulls by hand, and we’d just look at it on the camera’s monitor. I ended up shooting on a Canon 24mm lens at 1,600 ASA to get as much depth of field as possible at a stop of T81⁄2.

HDSLR Camera Checklist

BBC´s The Cutting Edge


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