DOP @AndyCatarisano takes us behind the scenes of ‘Ostentatious,’ by @montellfish feat. @johnglacier .
"We knew we wanted a flatter, monochromatic look with very little color contrast. The location already offered this unified palette, so with lighting, we tried to be subtle. We ended up with this warm, brown, ‘chocolate box' look, as I began calling it. In an on-set exploration we discovered this sort of chrome-blue alternate that was really compelling with the red carpet. Call it inspiration or indecisiveness, but we ended up using both looks.
We wanted older optics for this project. The PVintage series are some of my favorites. I love the smooth, buttery feeling they have, and the slightly lower contrast was exactly what I had hoped for in our image. I also wanted to shoot at a higher stop to see deeper into our world, so having glass that wouldn’t become too critical while retaining some character was important to me. For me, vintage Panavision glass feels like it’s unaware of itself. As if no one ever bothered to tell it ‘you’re special’. It feels graceful and worn in, but the imperfections are not begging for attention—they just sorta fall in. That balance between critical and crude is something I find innately consistent with so many sets of Panavision glass.
What stands out on this project is the blind trust the team had for each other. I credit [director] Jared mostly for that—for setting that tone. He’s a man of few words, but when he does speak its poignant. Then he steps back and puts so much faith in his team, and lets them run—that's infectious. So many shots would not have been possible without this kind of approach—I think it influenced the work and the pace that we were able to shoot at significantly.
I think the ultimate power of cinema is experiencing a different point of view other than your own, and as a cinematographer you get this distinct opportunity of being the first in line; of setting that perspective—you are, in a way, ‘holding’ the audience. The chance to offer your own point of view feels like such a privilege and joy. Im not sure it will ever get old for me."
BTS 📸 credit: @adoyiphotos@seafox925 & @justingarciafilms
Emmy in the bag!
Bravo to director Ezra Hurwitz, the crew at m ss ng p eces, Company 3, Final Cut, Significant Others, and so many more... who helped shape “Echos of Ailey.”
In this interview, cinematographer Andy Catarisano / @andycatarisano shares his journey into filmmaking, starting as an editor and director. He discusses his approach to lighting, pre-production, and finding inspiration. Andy also talks about his most significant project and how shooting on film impacts the atmosphere on set. Additionally, he reflects on technological advancements in the industry and his collaborations with iconic directors.
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![DOP @AndyCatarisano takes us behind the scenes of ‘Ostentatious,’ by @montellfish feat. @johnglacier."We knew we wanted a flatter, monochromatic look with very little color contrast. The location already offered this unified palette, so with lighting, we tried to be subtle. We ended up with this warm, brown, ‘chocolate box' look, as I began calling it. In an on-set exploration we discovered this sort of chrome-blue alternate that was really compelling with the red carpet. Call it inspiration or indecisiveness, but we ended up using both looks.We wanted older optics for this project. The PVintage series are some of my favorites. I love the smooth, buttery feeling they have, and the slightly lower contrast was exactly what I had hoped for in our image. I also wanted to shoot at a higher stop to see deeper into our world, so having glass that wouldn’t become too critical while retaining some character was important to me. For me, vintage Panavision glass feels like it’s unaware of itself. As if no one ever bothered to tell it ‘you’re special’. It feels graceful and worn in, but the imperfections are not begging for attention—they just sorta fall in. That balance between critical and crude is something I find innately consistent with so many sets of Panavision glass.What stands out on this project is the blind trust the team had for each other. I credit [director] Jared mostly for that—for setting that tone. He’s a man of few words, but when he does speak its poignant. Then he steps back and puts so much faith in his team, and lets them run—that's infectious. So many shots would not have been possible without this kind of approach—I think it influenced the work and the pace that we were able to shoot at significantly.I think the ultimate power of cinema is experiencing a different point of view other than your own, and as a cinematographer you get this distinct opportunity of being the first in line; of setting that perspective—you are, in a way, ‘holding’ the audience. The chance to offer your own point of view feels like such a privilege and joy. Im not sure it will ever get old for me."BTS credit: @adoyiphotos @seafox925 & @justingarciafilms](https://sp1.picnob.com/p/pt_6764256953667149554251_0_76ff866cc3fec5ae08ca2b4693734a85.jpg?o=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&h=420227ffafbcd0ec696cdd4b749873f2)
