Camera metadata doesn’t play a huge role on set, other than being collected. So why is it important? The answer to this question extends beyond set and lies deep within post-production editing, VFX, and color correction workflows.
To get a better understanding of the importance, function, and benefits of metadata, we sat down with Digital Cinematography expert and author of the book Digital Cinematography, David Stump.
In this interview, David shares his own experiences with Digital Cinematography regarding the transition from film to digital, how digital technology has impacted filmmaking, and the important role that metadata plays in post-production workflows.
But first, we asked David to give us some background on himself and his professional career in post-production roles!
Professional Career
David: I have filled a lot of different roles in film productions. I’m mainly a director of photography, but I’ve also held the roles of VFX supervisor,...
To get a better understanding of the importance, function, and benefits of metadata, we sat down with Digital Cinematography expert and author of the book Digital Cinematography, David Stump.
In this interview, David shares his own experiences with Digital Cinematography regarding the transition from film to digital, how digital technology has impacted filmmaking, and the important role that metadata plays in post-production workflows.
But first, we asked David to give us some background on himself and his professional career in post-production roles!
Professional Career
David: I have filled a lot of different roles in film productions. I’m mainly a director of photography, but I’ve also held the roles of VFX supervisor,...
- 10/19/2023
- by Mae McCreary
- Pomfort
Italian A-list actor Pierfrancesco Favino, who just scored a European Film Award nomination for his role in “Nostalgia,” is set to play heroic Sicilian World War II naval officer Salvatore Todaro in “Comandante.” Directed by rising auteur Edoardo De Angelis, the film is an ambitious anti-war epic that has required the construction of a life-size steel submarine.
Belgian multihyphenate Johan Heldenbergh, who wrote and starred in “The Broken Circle Breakdown,” plays the captain of an enemy ship.
Cameras have started rolling in the southern port city of Taranto on this meticulous reconstruction of an act of wartime humanitarianism that has gone down in naval history annals. It took place in the Atlantic Ocean on Oct. 15, 1940, when Todaro as commander of the submarine Cappellini sank a Belgian merchant ship called Kabalo that was carrying aircraft parts and operating under British rule.
He then surfaced, disobeying orders from his own command, to...
Belgian multihyphenate Johan Heldenbergh, who wrote and starred in “The Broken Circle Breakdown,” plays the captain of an enemy ship.
Cameras have started rolling in the southern port city of Taranto on this meticulous reconstruction of an act of wartime humanitarianism that has gone down in naval history annals. It took place in the Atlantic Ocean on Oct. 15, 1940, when Todaro as commander of the submarine Cappellini sank a Belgian merchant ship called Kabalo that was carrying aircraft parts and operating under British rule.
He then surfaced, disobeying orders from his own command, to...
- 11/10/2022
- by Nick Vivarelli
- Variety Film + TV
Hulu’s “Little Fires Everywhere” adaptation opens with the upper-class Richardsons’ house ablaze. A fire truck pulls up to the curb as matriarch Elena (Reese Witherspoon) watches from the edge of her driveaway. But it is too late to save the stone structure, which is burning from almost every room within. It takes until the finale episode to reveal that unlike in the novel of the same name, Izzy (Megan Stott) runs away before setting the fires, leaving her siblings to finish the job. The production team collaborated closely with the late director Lynn Shelton not only on how to create the look of the exterior flames based on in which room the fire first started, but also on what interior elements to see burning, to represent that Elena’s carefully curated world has been destroyed in an act of defiance against her.
Shelton passed away on May 16. Weeks before her death,...
Shelton passed away on May 16. Weeks before her death,...
- 7/1/2020
- by Danielle Turchiano
- Variety Film + TV
Digital cinematography has barely been around for 20 years but “it seems to have opened Pandora’s box,” said Dp David Stump during an Nab panel that recognized the American Society of Cinematographers’ centennial year on Wednesday.
“We’re innovating new cameras, new production methods and new ways of telling stories,” he said. “Audiences crave seeing something they have never seen before.”
Stump, who presented with cinematographers Bill Bennett and Sam Nicholson, discussed the potential of volumetric capture. (that is, capturing volumetric pixels, for voxels, for picture information that includes depth and enables ...
“We’re innovating new cameras, new production methods and new ways of telling stories,” he said. “Audiences crave seeing something they have never seen before.”
Stump, who presented with cinematographers Bill Bennett and Sam Nicholson, discussed the potential of volumetric capture. (that is, capturing volumetric pixels, for voxels, for picture information that includes depth and enables ...
- 4/10/2019
- The Hollywood Reporter - Movie News
Digital cinematography has barely been around for 20 years but “it seems to have opened Pandora’s box,” said Dp David Stump during an Nab panel that recognized the American Society of Cinematographers’ centennial year on Wednesday.
“We’re innovating new cameras, new production methods and new ways of telling stories,” he said. “Audiences crave seeing something they have never seen before.”
Stump, who presented with cinematographers Bill Bennett and Sam Nicholson, discussed the potential of volumetric capture. (that is, capturing volumetric pixels, for voxels, for picture information that includes depth and enables ...
“We’re innovating new cameras, new production methods and new ways of telling stories,” he said. “Audiences crave seeing something they have never seen before.”
Stump, who presented with cinematographers Bill Bennett and Sam Nicholson, discussed the potential of volumetric capture. (that is, capturing volumetric pixels, for voxels, for picture information that includes depth and enables ...
- 4/10/2019
- The Hollywood Reporter - Film + TV
The TV Academy today unveiled recipients of its 70th Engineering Emmy Awards, which honor an individual, company or organization for developments in broadcast technology.
Among the honorary winners is Wendy Aylsworth, the longtime Warner Bros and Disney tech exec and former chair (and current member) of the Academy’s Engineering Emmy Awards committee, who will receive the Charles F. Jenkins Lifetime Achievement Award. Also honored is Avid, which won The Philo T. Farnsworth Corporate Achievement Award.
A total of five Emmys and one Emmy plaque was awarded this year. Winners will be honored October 24 at an awards gala at the Jw Marriott Hotel at L.A. Live downtown, with Criminal Minds‘ Kirsten Vangsness returning to host.
The 70th Engineering Emmy Awards are overseen by chair Barry Zegel and committee members Aylsworth, Stuart Bass, Bob Bronow, Jim DeFilippis, Greg Gewickey, Frank Morrone, Leon Silverman, David Stump and Craig Weiss.
Here’s the list of winners,...
Among the honorary winners is Wendy Aylsworth, the longtime Warner Bros and Disney tech exec and former chair (and current member) of the Academy’s Engineering Emmy Awards committee, who will receive the Charles F. Jenkins Lifetime Achievement Award. Also honored is Avid, which won The Philo T. Farnsworth Corporate Achievement Award.
A total of five Emmys and one Emmy plaque was awarded this year. Winners will be honored October 24 at an awards gala at the Jw Marriott Hotel at L.A. Live downtown, with Criminal Minds‘ Kirsten Vangsness returning to host.
The 70th Engineering Emmy Awards are overseen by chair Barry Zegel and committee members Aylsworth, Stuart Bass, Bob Bronow, Jim DeFilippis, Greg Gewickey, Frank Morrone, Leon Silverman, David Stump and Craig Weiss.
Here’s the list of winners,...
- 10/2/2018
- by Patrick Hipes
- Deadline Film + TV
David Stump is both a cinematographer and a visual effects specialist, but that didn’t stop him from taking on even more jobs for “The Unwilling,” a low-budget indie horror feature that centers on the family of a recently deceased and hated patriarch forced to confront their own sins. The film is set for DVD, Blu-ray and VOD release by Vision Films on May 1. Stump, who in 2001 shared a sci-tech Oscar for data-capture development, served not only as Dp and VFX supervisor on the Jonathan Heap-directed film but also handled post-production and digital intermediate work, oversaw the deliverables and served as executive producer to boot.
Why so many hats?
Because we had so very little money and because I know how to do all of those tasks.
What did you do to get the film started?
I organized a crew that would help me shoot on our tiny budget: lighting,...
Why so many hats?
Because we had so very little money and because I know how to do all of those tasks.
What did you do to get the film started?
I organized a crew that would help me shoot on our tiny budget: lighting,...
- 5/4/2018
- by Peter Caranicas
- Variety Film + TV
If you ask visual effects designer Kevin Tod Haug and visual effects supervisor David Stump—who also works in a related craft, as a visual effects cinematographer—visual effects in TV tend to be serviceable, at best, due to the simple economics and complex logistics of television production. But as the collaborators will tell you, American Gods is far from your average television series. Featuring more than 3,000 VFX shots put together over the course of 18 months, the…...
- 5/23/2017
- Deadline TV
Wendy Aylsworth, Rob Bredow, Douglas Greenfield, Rob Hummel and Bev Pasterczyk have accepted invitations to join the Science And Technology Council of the Academy Of Motion Picture Arts And Sciences.
The new members will raise the council’s 2013–2014 roster to 25.
Aylsworth is svp of technology for Warner Brothers Technical Operations and became an Academy member-at-large in 2012.
Bredow is Cto and visual effects supervisor at Sony Pictures Imageworks, Animation, Colorworks and Post Production and has been a member of the visual effects branch since 2011.
Greenfield has been at the forefront of innovations in cinema sound for more than 30 years and is currently senior director of content services at Dolby Laboratories. He is a returning member of the council and previously served for nine years starting in 2003.
Hummel began his career at Technicolor Laboratories and joined Douglas Trumbull’s visual effects company during the making of Blade Runner. He too is a returning member of the council and previously...
The new members will raise the council’s 2013–2014 roster to 25.
Aylsworth is svp of technology for Warner Brothers Technical Operations and became an Academy member-at-large in 2012.
Bredow is Cto and visual effects supervisor at Sony Pictures Imageworks, Animation, Colorworks and Post Production and has been a member of the visual effects branch since 2011.
Greenfield has been at the forefront of innovations in cinema sound for more than 30 years and is currently senior director of content services at Dolby Laboratories. He is a returning member of the council and previously served for nine years starting in 2003.
Hummel began his career at Technicolor Laboratories and joined Douglas Trumbull’s visual effects company during the making of Blade Runner. He too is a returning member of the council and previously...
- 10/29/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
A must-see for any cinephile this year is Christopher Kenneally‘s documentary on digital vs. film, Side by Side. Led by Keanu Reeves, in our review we called it extraordinary, in that its not only required viewing for those interested in film, but also wonderfully entertaining. The documentary sees Reeves interview top Hollywood pioneers including James Cameron, George Lucas, Danny Boyle, Martin Scorsese, Christopher Nolan and as per usual in the genre, there was lots of left-over footage.
In a daily video series, Tribeca Films is releasing some extra clips from the films which featuring conversations that didn’t make the cut. There’s David Lynch discussing digital theatrical delivery, the Wachowskis on actors performances and editing, Martin Scorsese on celluloid, Wally Pfister on story, Steven Soderbergh on doing things different and much more. It’s great to hear the opinions of these tastemakers in Hollywood, including both sides of the coin.
In a daily video series, Tribeca Films is releasing some extra clips from the films which featuring conversations that didn’t make the cut. There’s David Lynch discussing digital theatrical delivery, the Wachowskis on actors performances and editing, Martin Scorsese on celluloid, Wally Pfister on story, Steven Soderbergh on doing things different and much more. It’s great to hear the opinions of these tastemakers in Hollywood, including both sides of the coin.
- 8/8/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Quantum of Solace, the 22nd film in the James Bond franchise, will feature a complex visual effects shot captured digitally in 4K resolution, which offers four times the amount of picture information typically captured by most digital cinematography cameras.
The shot for the Marc Forster-helmed title is being lensed using eight shutter synchronized 4K Origin cameras from Dalsa, one of only two companies now shipping 4K digital cinematography cameras. Specifics are being kept under wraps, but the shot will feature Daniel Craig in his role as James Bond and Olga Kurylenko as the film's lead Bond girl, Camille.
Director of photography Roberto Schaefer and consulting visual effects cinematographer David Stump collaborated on the shot.
"The Dalsa Origin was the only uncompressed, high-resolution, low-noise camera system we could count on to do what we needed to do," visual effects designer Kevin Tod Haug said.
Added Stump: "Working with uncompressed 4K gave us the ability to mine the maximum amount of detail from the scene."
Dalsa shipped the camera packages from Los Angeles to Movietech Camera Rentals at Pinewood Studios in the U.K., where both companies prepped the cameras, which recorded 4K data to eight Codex digital disk recorders.
The shot for the Marc Forster-helmed title is being lensed using eight shutter synchronized 4K Origin cameras from Dalsa, one of only two companies now shipping 4K digital cinematography cameras. Specifics are being kept under wraps, but the shot will feature Daniel Craig in his role as James Bond and Olga Kurylenko as the film's lead Bond girl, Camille.
Director of photography Roberto Schaefer and consulting visual effects cinematographer David Stump collaborated on the shot.
"The Dalsa Origin was the only uncompressed, high-resolution, low-noise camera system we could count on to do what we needed to do," visual effects designer Kevin Tod Haug said.
Added Stump: "Working with uncompressed 4K gave us the ability to mine the maximum amount of detail from the scene."
Dalsa shipped the camera packages from Los Angeles to Movietech Camera Rentals at Pinewood Studios in the U.K., where both companies prepped the cameras, which recorded 4K data to eight Codex digital disk recorders.
- 3/24/2008
- The Hollywood Reporter - Movie News
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