We’re waiting for our copy of Falk Schwarz’s Farbige Schatten: Der Kameramann Robert Krasker to arrive from Germany but our research into the great but forgotten Australian cinematographer Robert Krasker continues.
We’ve been searching online for movies photographed by him and so far have located and verified the availability of twenty-six such feature films.
‘Odd Man Out’ photographed by Robert Krasker and directed by Carol Reed, 1947.
‘Odd Man Out’ photographed by Robert Krasker and directed by Carol Reed, 1947.
‘Odd Man Out’ photographed by Robert Krasker and directed by Carol Reed, 1947.
‘Odd Man Out’ photographed by Robert Krasker and directed by Carol Reed, 1947.
On August 21 in 1913 the great Australian feature film cinematographer and Director of Photography Robert Krasker BSC was born.
Mr Krasker photographed some of the most famous and loved narrative movies of the first part of the twentieth century including Brief Encounter, The Third Man, Odd Man Out, El Cid, The Quiet American, Cry The Beloved Country, Romeo and Juliet, Caesar and Cleopatra, Henry V, The Fall of the Roman Empire, Billy Budd, Trapeze, The Running Man, The Heroes of Telemark, The Trap and many more until his untimely death on August 16 1981.
Poster, The Third Man, directed by Carol Reed, photographed by Australian DoP Robert Krasker.
Robert Krasker with Oscar statuette for Academy Award, 1951, for Best Cinematography (Black and White). Image from Robert Krasker obituary, The Bulletin, December 1 1981, courtesy of the National Library of Australia.
Robert Krasker’s family was of Jewish background and took part in the great diaspora from Eastern and Central Europe to the West during the late nineteenth and early twentieth century and in his family’s case then on to Western Australia.
He was proud of his Australian nationality and spoke of it throughout his life, and made an attempt to help create a viable feature film industry here in Sydney after winning his uncontested Academy Award Oscar statuette for Cinematography (Black and White) on The Third Man.
That attempt proved unsuccessful and appears to have been adversely affected by postwar conditions in this country.
Krasker was a master of cinematography in monochrome and colour as well as lighting for the whole range of expression and emotion.
He pushed the Technicolor process to the limit and his work has influenced and inspired many contemporary Australian and non-Australian movie directors and Directors of Photography.
Despite all this, Robert Krasker has become almost completely forgotten in his home country even though his movies still have name recognition amongst fans around the world and directors such as Martin Scorsese.
We continue to research Robert Krasker, the man and his work and will keep sharing our findings here while pushing for the recognition he clearly deserves.
“The ‘Westworld’ creator’s new film noir is already getting Oscars buzz, but she was wary of her script being ignored by a sexist industry. She talks to Elizabeth Aubrey about the film’s very personal origins, and why ‘it shouldn’t be so subversive to make a woman a badass’…
… Joy built her team for Reminiscence from the grass roots up to create a production in which gender diversity thrived. “I contracted around implicit bias as much as I could,” she says, explaining that the unspoken patriarchal barriers she came across as a woman in Hollywood were vast. She made sure to add herself as a producer, which meant she could eventually direct, or at least have a say in who did.”
Thandiwe Newton and Lisa Joy with poster for ‘Reminiscence’ feature movie. Image courtesy of Lisa Joy’s Instagram account.
Lisa Joy with poster for ‘Reminiscence’ feature movie. Image courtesy of Lisa Joy’s Instagram account.
Commentary
Hollywood moviemaking a sexist industry in the vicelike grip of the misogynist patriarchy? What a surprise!
I am looking forward to the release of Lisa Joy’s science fiction movie Reminiscence and hope that the path she has forged in features and television shows will continue to inspire us all and make the path for the rest of us even just a little smoother than it has been until now.
Meanwhile that she is working on the next season of Westworld is welcome news indeed.
“Originally published in Cahiers du Cinéma, No. 84, June 1958.
Translated and annotated by Sally Shafto
For a long time, Cahiers has wanted to converse with Orson Welles. The occasion presented itself during the Cannes Festival, which he attended for three days….
…Are you using still lenses with a short focus, the 18.5mm? [6]
Yes, everything is in 18.5. For Touch of Evil, too, practically everything is in 18.5. There are unsuspected possibilities with this lens!”
Angénieux 18.5mm f/2.2 Retrofocus wide angle prime lens of the type used by Orson Welles in many of his feature films. Image courtesy of Jon Fauer’s Film and Digital Times.
Angénieux 18.5mm f/2.2 Retrofocus wide angle prime lens of the type used by Orson Welles in many of his feature films. Image courtesy of Jon Fauer’s Film and Digital Times.
Angénieux 18.5mm f/2.2 Retrofocus wide angle prime lens of the type used by Orson Welles in many of his feature films. Image courtesy of Jon Fauer’s Film and Digital Times.
Angénieux 18.5mm f/2.2 Retrofocus wide angle prime lens of the type used by Orson Welles in many of his feature films. Image courtesy of Jon Fauer’s Film and Digital Times.
Angenieux Type R2 18.5mm f/2.2 vintage cinema prime lens rehoused by ZERØ OPTIK. Image courtesy fo ZERØ OPTIK.
Commentary
As with the ‘Hollywood 28’, the Angénieux 18.5mm f/2.2 wide-angle lens is legendary and was the favourite of the great Orson Welles.
I have a particular affection for these focal lengths for documentary photography and video and for some damned good reasons, some of which are shared by Mr Welles.
My documentary photography work in Micro Four Thirds with its 4:3 aspect ratio and using the 14mm focal length comes close to the look of an 18.5mm lens in Academy format aspect ratio in Super 35.
Jon Fauer’s Film and Digital Times – First Angénieux 35mm Prime in 1951 – “The 18.5 lens is a new, important invention: it’s barely been five years that it’s possible to find good 18.5 lenses, and how many persons have made use of it? Each time I give it to a director of photography, he is terrorized: but by the end of the film, it’s his favorite lens.”
Zerø Optik – Angenieux Type R2 18.5mm f/2.2 – rehoused T2.4 cinema prime lens of the type used by Orson Welles on many of his feature films.
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A little gem of a short film that made its mark in the film festival scene in the past year—returns to enchant us again in its fully-fleshed, fully-realised feature-length film scale canvas; not only re-earning the love of its independent audience, but reaching new heights of success through its newfound mainstream audience and stellar global distribution deal. We’re of course talking about Emily Skye’s River; a truly hypnotic odyssey where Skye flawlessly encompasses River’s (Mary Cameron Rogers) interiority and psycho-emotional aftermath after losing her mother. Skye is rapidly coming into being as one of the most promising in-demand newcomer directors on the independent scene right now; with a unique directorial style that sees her embody the lens when directing—in command of her shoulder-rigged heavy camera. Here’s a visual storyteller whose conflicted approach has allowed her to capture the world and characters in her stories in the most claustrophobic and all the more captivating of ways. River is triumphant in an infinitude of ways, but no more so than for its powerhouse duo collaboration in Skye and Rogers. Rogers turns in a raw, authentic and most unforgettable performance leading an infectiously charismatic cast in Alexandra Rose and Rob Marshall, who play her two best friends and siblings Amanda and Jamie. Potent, immersive and ultimately haunting; Skye infuses River’s journey of self-discovery with a sci-fi twist that will abduct you out of your seat. You are not prepared for what River has in store for you; it’s unlike anything you’ve ever seen before.…”
Emily Skye in production on her debut sci-fi feature film ‘River’. Image courtesy of Emily M. Skye.
Emily Skye, cast and crew in production on her debut sci-fi feature film ‘River’. Image courtesy of Emily M. Skye.
Principal cast of Emily Skye’s debut sci-fi feature film ‘River’. Image courtesy of Emily M. Skye.
Commentary
Congratulations to Emily M. Skye and looking forward to seeing her feature film ‘River’ this year!
“Fusion 9 is a massive new release with features specifically designed for the latest virtual reality, visual effects, motion graphics, and 3D workflows! The entirely new VR toolset makes Fusion indispensable for virtual reality projects, while new camera and planar tracking features make it possible to precisely track and composite objects while maintaining perspective and camera motion. Fusion 9 also includes delta keyer, with advanced image science that makes it the world’s most advanced keyer. In addition, you also get Studio Player which includes new multi user collaboration tools for tracking and managing shots, along with version history, annotation notes and more!…”
Since I wrote this article near the beginning of 2017, a number of camera cages for the Panasonic Lumix GH5 have appeared on the market and I have been able to take a look online at many of them. In the case of one GH5 cage, Seercam’s Cube GH5, I have been kindly sent one and have had the opportunity of taking a closer look than websites permit.
Seercam’s Cube form-fitting GH5 camera cage with one-touch quick-release Classic Plus top handle, finger support handle (not shown) and quick-release rod riser.
I admit to a degree of well-informed bias. I have a Seercam cage for my GH4 and it has served me and my GH4 well, amply living up to Seercam’s mission of providing the best protection possible. If it were not for that cage, my GH4 might be in pieces due to an accident that occurred shortly after I bought it. The cage took the impact and my GH4 was saved.
My current cage collection: Motion9 GH4 cage at left, Seercam GH5 cage at front and SmallRig GX8 cage at rear right.
Seercam, by the way, is the new international trading brand name for the South Korean camera accessories company Motion9 and so my GH4 cage was branded as a Motion9 product.
If those accessories were still in production, I would snap them up in a second as they solve the single biggest problem I had with the GH4 cage back then, the need to rapidly remove and reattach the CubeMix GH4/3’s three handles when working fast on location.
Quick release accessories, whether attached via dovetail rails, NATO rails or Arri rosettes, are clearly the way to go for speed and efficiency and permit safely carrying your caged camera about in a backpack or shoulder bag then quickly removing it and snapping on handles and other quick release accessories ready for work.
None of my current shoulder bags or backpacks are dedicated video camera bags permitting carriage of fully assembled video rigs, but Peak Design’s 30-litre Everyday Backpack with its flexible internal space has proven to be a good solution for carrying cage-mounted cameras and other oddly-shaped and sized video equipment.
UK Lumix Luminary Nick Driftwood’s anamorphic moviemaking rig. Panasonic’s Lumix GH5 is suitable for tripod-mounted big rig moviemaking as well as mobile handheld video cinematography.
Sometimes though, transporting a fully assembled video rig is beyond the capabilities of even the best and biggest bag. Nick Driftwood’s GH5 rig for anamorphic moviemaking above, also depicted further down this page, is a case in point.
Anamorphic lenses aside, big rigs like Mr Diftwood’s are not uncommon when shooting full-length documentaries, the main purpose for which I bought my GH4 then added Motion9’s CubeMix GH4/3 cage followed by a Panasonic DMW-BGGH3 battery grip for stability and added power in handheld video and stills photography.
Seercam’s Cube GH5 camera cage, Extension Kit for GH5, rod riser and Classic Plus Handle can accommodate some hefty camera rigs if need be. Alternatively, their Cube GH5 cage is lightweight yet protective enough for stripped-down rigs consisting of camera and lens only.
Communications with the Seercam team reveal they are working on further GH5 solutions including an international-standard external battery pack, a special longer rod for the Extension Kit for Cube GH5, left and right side handles and an updated quick release rod riser.
With the March 2017 release of Panasonic’s Lumix GH5 Super 16/Micro Four Thirds looming, my attention turns to the many and various accessories needed to make the most of this revolutionary camera. One essential accessory for filmmakers seriously considering the GH5 is a cage, and at least two cage-makers are known to be working on designs at the moment.
Camera accessories maker SmallRig is currently working on this lightweight cage for the Panasonic Lumix GH5 and is inviting input from interested parties. I have a SmallRig cage for my Panasonic Lumix GX8 and recommend it. Seercam, formerly Motion9, is also working on a cage for the GH5.
I am most familiar with two brands of cage makers – SmallRig and Seercam, formerly Motion9, links below. I currently own one cage made by each and would definitely consider purchasing from both again.
The folks at SmallRig design their new products via a crowdsourcing process, as it were, seeking input and new ideas from users. Seercam is interested in hearing from potential users and I have, accordingly, sent them the photograph of Nick Driftwood’s GH5 anamorphic rig below.
More images of SmallRig’s GH5 cage currently in development
The Seercam folks tell me that they are waiting to test one of the three GH5s currently available in South Korea and will finish their design at the beginning of March. They will be showing it and other products off at NAB in April.
Nick Driftwood’s GH5 rig for anamorphic moviemaking
UK Panasonic Lumix brand ambassador Nick Driftwood’s anamorphic GH5 rig featuring the GH5, battery grip, XLR1 audio adapter, Atomos Shogun Inferno monitor/recorder for 4K 5pp/60p 10-bit 4:2:2 ProRes, SLR Magic 35mm x2 anamorphic lens, Lanparte matte box, Røde NTG2 microphone phantom-powered from the XLR1 hotshoe. “We need to see a special GH5 cage design for the XLR1 from hardware companies,” Mr Driftwood says. That XLR1-savvy design should allow placing the unit anywhere off-hotshoe via a custom cable.
At the very least a cage must offer protection for the camera within and prevent twisting and damage when accessories are mounted on it.
I am not fond of mounting large or heavy microphones or recorders on hotshoes – I would much prefer to attach them via coldshoes on a cage. If something untoward happens to the coldshoe then it can be replaced. Not so a hotshoe.
I am becoming enamoured of battery grips especially when shooting battery-sucking 10-bit 4:2:2 4K or DCI. I prefer attaching recorders beneath the camera and attaching mics to them via coiled XLR cables.
At present I don’t use a rig like the one in Mr Driftwood’s photograph, but I may well need a rig like that minus the anamorphic lens when shooting a feature-length documentary.
The rest of the time my typical rig will be stripped right down for MOS (without sound) handheld video, or with a recorder beneath camera-plus-battery-grip and a microphone on top of the cage. Plus variations.
If a cage and its accessories can be made to accommodate all the typical scenarios one encounters in the course of a typical working career in stills and video – I often use cages for both applications – then I will be very happy indeed.
When I returned to Sydney after a long sojourn elsewhere, photographers of my acquaintance reported fewer were earning a living from photography alone, more taking up creative side professions like video or graphic design.
Kyno is great for browsing, previewing and managing more than just video files. I use it for audio, graphics and photography files too. I love how it works without having to build catalogs or add files to a database before I can get to work.
Now the ever onwards march of technology has placed the possibility of shooting top quality video in the hands of photographers, great stills cameras in front of cinematographers and so the creative landscape changes once again.
Although stills and video production hardware has been roaring ahead, one key aspect of production software has lagged behind, media management. Kyno has filled that gap and, after taking advantage of developer Lesspain Software‘s 14-day trial offer, Kyno looks like it is doing an outstanding job of it.
Viewing a file close-up and adding metadata. One important feature I want to see in Kyno soon – the ability to edit its metadata database (does it use a database?) to correct mistakes and typos like my bleary-eyed, late-night incorrect capitalization of the word ‘cameras’ and my failure to capitalise ‘Leica’ and ‘M10’.
Kyno is one of those programs I wish someone had come up with a long time ago. In short it allows anyone to view, log, organise, and transcode footage from just about any type of camera or codec.
Hear, hear.
New Version 1.2 Kyno Key features:
New audio, movie and stills file formats – now including Olympus and Fujifilm raw stills files, Apple Core Audio, ProRes MXF, DNxHR, Hap video, AVI ultrasound and FRAPS for gaming captures.
Overhaul for Final Cut Pro X – a complete rethink of the FCPX export workflow.
Improved transcoding – option to add handles when batch-exporting subclips and increased flexibility handling file timestamps and timecodes across all export, transcoding and rewrap operations.
Simplified batch sub-clip exporting – you can now define the content you wish to extract from large amounts of footage faster and easier than ever before, great for observational documentary.
Further information about this latest version of Kyno is available at the 1.2 release notes.
Feature film and documentary DoP Nancy Schreiber is the very first female cinematographer to receive the ASC’s Presidents Award and it might, just might, inspire young women to take up cinematography with an eye on working in feature films. I certainly hope so.
The only other female movie professional and ASC member to win an ASC award, DoP Tami Reiker, won 2004’s Movie of the Week or Pilot for lensing the first season of Carnivalé released by HBO.
Before the World Wide Web came into being freeing up the sharing of information, gatekeepers controlled access to facts about career possibilities, especially for women.
Growing up in a far-flung regional capital meant submitting to what one was told one was permitted to do artistically and professionally, and those who kicked against the pricks were severely censured, even blacklisted.
There were no female cinematographers or directors to be seen, no role models and certainly no mentors. Potentially brilliant careers were curbed and subjected to the interests of the gatekeepers’ hold on power.
Only those of the right gender and background were permitted to know about further professional moviemaking education then given the chance of applying for it, often with a well-mentored career to follow.
Without positive examples of successful female filmmakers and especially cinematographers, I and other visual storytelling creatives of my acquaintance flushed their hopes and dreams of moviemaking careers for more mundane occupations supporting men in the traditional manner or employment in production support if they were lucky.
Most just stopped being creative, dreams shattered completely.
The Presidents Award, writes Variety‘s Valentina I. Valentini, “honors a member’s contribution to the next generation of DPs. Schreiber has been a longtime mentor to younger camera crew members, and has worked with Film Independent’s Project Involve — a program designed to enhance the careers of women and people of color.”
We all know the dismal statistics about the lack of filmmakers of color in the industry. Women and LGBT artists also nearly impossible to find. Project Involve is working to change all that….
Ms Schreiber, Variety‘s articlecontinues, “has taught advanced cinematography at the American Film Institute, and is a guest lecturer at film schools around the world.”
If only someone like Nancy Schreiber had existed when I was young, and had reached out to potential young filmmakers outside the film school system in the east.
Variety‘s article ends with this inspirational quote:
“If this award does anything,” says Schreiber, “it will open some doors to the younger generation of women, to show that they can succeed, that they can work in all areas of the film and television industry.”
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