| Article: Behind the Lens: Paul Cameron ASC on Total Recall
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 | Article: Behind the Lens: Paul Cameron ASC on Total Recall
by Debra Kaufman on Aug 3, 2012 at 7:03:07 pm |
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Cinematography  | Behind the Lens: Paul Cameron ASC on Total Recall
Paul Cameron, ASC, just finished work on the remake of Total Recall, directed by Len Wiseman and starring Colin Farrell, Kate Beckinsale and Jessica Biel with Bill Nighy, Bryan Cranston, and John Cho. Cameron was last featured in Creative COW for his work on Henry's Crime. His previous credits include director Michael Mann's Collateral and Tony Scott's Man on Fire.
Feature 08/03/2012
Author: Debra Kaufman |
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• | | | |  | Re: Behind the Lens: Paul Cameron ASC on Total Recall
by jon sendall on Jul 31, 2012 at 2:55:25 am |
Be great to see Panavision anamorphic's on the Epic and then on a large screen. Have always loved PKD's books but I'm hoping another writer of his talent will emerge again to supply film makers with fresh stories to satisfy our sci-fi cravings.
Story, not pixels.
JPSendall
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• | | | |  | @Behind the Lens: Paul Cameron ASC on Total Recall
by Guy Bodart on Jul 31, 2012 at 10:51:46 am |
Too bad for the movie. Digital doesn't work very wel. The director was right.Film is much better than digital.
It not a question of price. Film will not cost so much money. When you make a 100 milion movie, the price of film is irrelevant..Sad , very Sad to destroys the 7th art with crapy digital cameras. I will not even buy that movie...I hate digital.
Steven Spielberg thinks the same way and even Tarantino...
I will never accept to shoot on digital. NEVER!
Guy Bodart
Film Director/DP
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• | | | |  | @Guy Bodart
by T Mathai on Aug 1, 2012 at 6:42:55 pm |
So if you never shoot digital, would you also refuse to use computers for editing, sound and visual effects too.
Total Recall looks so vfx heavy, it's practically CGI. Technical logistics may make it easier to start digital.
The film vs digital argument is a waste of time. Digital is getting better all the time. Sooner than later, there will movies that will not be possible to make with film. Digital will move into it's own esthetic.
Unless you control your production, you get stuck doing what someone else says. Len Wiseman made successful movies before, but could convince Sony to stick to film.
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• | | | | | @T Mathai
by T Mathai on Aug 1, 2012 at 6:44:37 pm |
I mean Len Wiseman couldn't convince Sony to stick to film.
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• | | | |  | Re: Behind the Lens: Paul Cameron ASC on Total Recall
by Michael Locke on Aug 4, 2012 at 2:37:16 pm |
Ah yes, the tools debate. Those of us at the bottom take what we can get. If actors don't like a script they can either skip it, or make it work the best they can. DPs should be no different.
I hope film never goes away (it won't), but if I sign on to a project it's for the STORY. I will get every pixel I can out of an iPhone with work lights from home depot if that's all there is. Oh, and about that sound guy: he's my other HALF.
I understand "Compromise is the language of the devil.", but we don't always get our first choice, certainly starting out. Solve the problem, make it work, do what they say can't be done. That's my mission...
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• | | | |  | Re: Behind the Lens: Paul Cameron ASC on Total Recall
by Dale McCready on Nov 3, 2012 at 8:57:08 pm |
I watched this movie on a very nice 4K Imax sized screen and have to say that it was absolutely stunning looking. Forget the story and direction, this article was interviewing the cinematographer about his work, and his work was extremely good.
As a DP I had no idea what was shot on while I watched it, I just knew it was visually stunning.
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• | | | |  | Re: Behind the Lens: Paul Cameron ASC on Total Recall
by Mike Cohen on Dec 20, 2012 at 3:59:14 pm |
Just watched on Blu-Ray last night. I watched some of the PIP commentary/behind the scenes stuff and it was amazing that the practical shots merged with CGI looked pretty good.
As for digital vs film - who cares!? The movie going public who pays for future movies to be made with their ticket fees in general neither knows nor cares what format a film is shot on.
If Sony tells Len Wiseman to shoot on RED and that he can still put his wife in the movie and still have $100 million to play with, Len Wiseman is going to agree.
Yeah, Minority Report looked great on film, but digital is not the future - it is the present.
Get on the bus.
Mike Cohen
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