Homeland: Behind the Scenes with Canon Glass/David Klein ASC
COW Library : Canon Cameras : Stefani Rice : Homeland: Behind the Scenes with Canon Glass/David Klein ASC
Homeland's camera department has shared with us a behind-the-scenes look at how they capture the heart-racing action of the award-winning Showtime thriller.
David Klein, ASC, recently nominated for a 2014 Best Cinematography Emmy® Award for his work on the show, first AC Dominik Mainl, and B camera operator Bob Newcomb break down what's in their tool kit: an ARRI Alexa mounted with Canon Cinema Zoom Lenses, a RED Epic, a Canon Cinema EOS 1D C, and a Canon EOS 5D Mark III.
We couldn't pass up this opportunity to look in on Director Lesli Linka Glatter as she works on Homeland.
Director Lesli Linka Glatter's tweet from the set of Homeland, Season 4, here. And be sure to read our interview with Lesli following her Director's Guild of America Award for Outstanding Directorial Achievement in Dramatic Series on Mad Men.
David Klein noting his new set of Canon Cinema Prime lenses modified by Duclos Lenses to include a PL-mount, here.
You'll definitely want to check out our interview with Klein last season. Here's an excerpt...
How did you start your career in cinematography?
David Klein, ASC: My dad and my grandfather shot a lot of film, so by the time I was in middle school I'd pried a Canon AE-1 from my dad's hands and a Bolex from my grandfather's. They taught me these cameras and, although they were not professional cameramen, they were no slouches. I cut my teeth shipping daylight spools of 16mm film to various labs around the country and camping-out in my high school darkroom, developing roll after roll of Kodak TMAX. It was my first learning experience in cinematography and it was largely an exercise in the necessity for self-education.
Not long after I graduated from high school, I put the cameras down and followed a girl to college. I'll spare you the "heartbreaking" details, but I dropped out of college and stormed off to the Vancouver Film School. That course of action was instrumental because, had my application been received two days later, I'd have ended in another class instead of the one I met Kevin Smith in. So thanks are in order, really.
I was fortunate enough to meet not only Kevin but Scott Mosier there, too, and shortly afterwards we began our careers with the films Clerks, Mallrats and Chasing Amy. And shortly after that, I was forced out by a studio system that thought Kevin would be better off with a more experienced cinematographer. They were probably right, so I had to learn how to fight through the system.
I shot anything I could get my hands on: Indie features, music videos, television. It was absolutely the most important time in my career because I had to look at myself and ask why a studio wouldn't want me shooting features for one of my best friends. The answer was experience and how much of it I lacked at the time. I'm a firm believer in Malcolm Gladwell's "10,000- Hour Rule," but when it comes to something as complex as light, that's probably not nearly enough time. Right out of film school, things happened faster for me than I had earned, but I spent the next decade learning to deserve every frame I shot.
To read more, have a look as Creative COW goes...
Behind the Lens: Homeland's David Klein, ASC
Showtime also just released the trailer for Season 4 of Homeland, which premieres Sunday, October 5th. All the footage in the teaser was shot exclusively on Canon Cinema glass. David added a full set of Canon Cinema Prime lenses -- modified by Duclos Lenses to feature a PL-mount -- to his kit, which are worked alongside his Canon PL Cinema Zooms on his ARRI Alexa, RED, and Canon EOS 1D C.
Homeland Season 4: First Look