Articles


Sisters

Amsterdam, 2020-05-05 - Freek Zonderland

ZUSSEN (SISTERS) is a short dance film by director Daphne Lucker and cinematographer Casper van Oort. It has screened and has won prices at festivals all over the world. In November it screened in the student competition at Camerimage and it won the IMAGO Student Award 2020. 


Onderhuids

Amsterdam, 2020-04-27 - Freek Zonderland

ONDERHUIDS (UNDER THE SKIN) from director Emma Branderhorst and cinematographer Michel Rosendaal screened at the Berlinale earlier this year. We spoke with Michel about this poetically shot twenty-minute short film. 


First ROBBY MÜLLER AWARD goes to Diego García

Rotterdam, 2019-10-30 - IFFR / NSC

The Robby Müller Award honours an ‘image maker’ who, in the spirit of the late Robby Müller, has created an authentic, credible and emotionally striking visual language throughout their oeuvre. The first award goes to Diego García and will be presented at the 49th International Film Festival Rotterdam.


The Circle of Film

Amsterdam, 2019-10-02 - Jean van de Velde

"Wil de Nederlandse filmcultuur overleven, dan zal de filmketen een filmketting moeten worden! Dan moet het einde van die keten (de filmexploitatie) aan het begin (de filmproductie) geklonken worden. Dan moeten de baten aan het einde de 'boost' voor een nieuw begin zijn."


Regisseurs naar de achterbank

Amsterdam, 2019-08-24 - Jos van der Burg & Karin Wolfs

“Doreen krijgt heel veel power.” Aldus waarnemend Filmfonds-directeur Ger Bouma tien jaar geleden over de benoeming van Doreen Boonekamp tot directeur. Anders dan haar voorgangers kreeg Boonekamp bij haar aantreden twee petten: ze werd zowel directeur als bestuurder van het Filmfonds.


New Deal NSC

Amsterdam, 2019-04-17 - NSC

Uit een NSC-enquête die in mei 2018 onder de leden is gehouden, was de belangrijkste conclusie dat het de DP’s frustreert dat ze hun werk niet optimaal kunnen uitvoeren. Daarom dit manifest met suggesties om het werkproces te veranderen.


Living the Light, at 75th Venice International Film Festival

Amsterdam, 2018-11-18 - Vincent Visser

Living the Light – Robby Müller, made by Claire Pijman NSC, will have its world premiere at the 75th Venice International Film Festival and is selected for the Venice Classics competition


Time Layers Come Together

Amsterdam, 2018-11-17 - Vincent Visser

'Paolo Ventura, Vanishing Man,’ shows how an Italian artist creates his own timeless melancholic world in a barn on an abandoned mountaintop in Italy. With paint, cardboard, and relics of a human life, he resonates his childhood’s memories and isolation by giving himself and found objects a new magical life.   


Frank van den Eeden about Waldstille

Amsterdam, - Vincent Visser

Dutch cinematographer Frank van den Eeden (May 14, 1971), resident of Antwerp is best known for his work with directors such as Fien Troch, Nanouk Leopold and Jan Verheyen. Besides many nominations he has won several awards for his work as cinematographer.  One of his later productions is ‘Waldstille’ from writer and director Martijn Maria Smits, a feature film that got its world-premiere during the San Sebastian Film Festival in 2016. The NSC talked with Frank about this film.


NSC Investigates Film Making Process in The Netherlands

Amsterdam, 2019-05-01 - NSC

The Netherlands Society of Cinematographers (NSC) conducted a survey among its members as a response to the Netherlands Film Production Incentive 2014-2017 evaluation.


The Cinematographer as Co-Author

Amsterdam, 2019-05-09 - Hans Beerekamp

While cleaning up his archive, film journalist Hans Beerekamp found several editions of the (small-scale published) Dutch film magazine Cineécri.


Emotional Shapes and Textures - Daniël Bouquet

Amsterdam, 2018-07-15 - Vincent Visser

Immediately after his graduation from the Dutch Film Academy in 2006, Daniël Bouquet made a flying start as Director of Photography. For his second feature length production “Nothing Personal” (2008) he won the Golden Calf award for best Cinematography during the Netherlands Film Festival in 2009. Nowadays he works mainly on a variety of international projects, amongst commercials for major brands like Adidas, Gillette and Vogue. The NSC talked with him about his career, interests and more.  


Beerified Scope

Amsterdam, 2018-11-16 - Vincent Visser

Joris Kerbosch (Culemborg, 1980) is best known for his work as cinematographer for directing duo Steffen Haars and Flip van der Kuil, for whom he shot the movies ‘New Kids Turbo’ (2010), ‘New Kids Nitro’ (2011) and ‘BROs BEFORE HOs’ (2013). ‘Ron Goossens, Low-Budget Stuntman,’ is their fourth feature film collaboration. Together those comedies where amongst the highest grossing films in The Netherlands and acclaimed international recognition. NSC spoke with cinematographer Joris Kerbosch about the film.

Onderhuids


Amsterdam, 2020-04-27 - Freek Zonderland

ONDERHUIDS 1

ONDERHUIDS (UNDER THE SKIN)
Director: Emma Branderhorst
Cinematographer: Michel Rosendaal

The 20 minute short film screened at the Berlinale earlier this year.

Three friends are training for a synchronized swimming competition, executing rhythmic turns in the water in the same unison with which they bully other girls in the changing room. Yet beneath the surface, turmoil is brewing. Gestures and glances exchanged in atmospheric scenes gradually condense into a narrative of intrigue and jealousy, the young athletes‘ forced competition-ready smiles starkly emblematic of their friendships.

This is a conversation with Michel Rosendaal about his work on Onderhuids.

“We were really trying to get close and intimate with our main character Keesje, played by first time actor Isis Braam. To get a real sense of who she is, that vulnerable yet honest look in her eyes. This way we tried to get the viewer in her head without too many words or dialogue.

During prep Emma and I invested a lot of time to go to all the swimming rehealsels, apart from all the general rehearsals with the girls, to create a circle of trust between us as well. Hoping this would translate to the screen in the end. This is really important for me, because it makes me understand the characters better and drives creative decisions later on. This translates into a unique look and feel for that specific movie and character.

That is how we came up with the dynamic camera movements, working from the perspective of Keesje. Physically close to her with wide angle lenses. 

Onderhuids Close

We shot on Alexa XT with Kowa spherical lenses and a Cooke Classic 25-250 for some zoom shots. For the underwater scenes we used an Alexa Mini with Zeiss SuperSpeeds. I’m a huge fan of the soft, organic character of the Kowa lenses and their gorgeous flares.

During the film Keesje becomes more and more isolated because of the choices she makes. She wants to be the best in her team, but is also trying to be liked by Lize. With her actions she is putting her other friendships at risk, leading to her being rejected by the group. I think you can interpret the final scene of the film as a step to independence, maybe Keesje now realizes who she really wants to be.

I’ve tried to visualize this “suffocating” arc of the film by increasingly locking Keesje in the frame as the story develops. By zooming in at certain points and giving frames a lot of negative space. This leads to the final scene being told in one long shot.

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One of our big inspirations was photographer Ryan McGinley. His work focuses on free souls and rashness. We found that energy to be very fitting to this coming-of-age story.

ARTICLE CONTINUES BELOW - AFTER SEVEN PICTURES FROM RYAN MCGINLEY 

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What I love about the movie is how the subject matter, bullying in a group of girls, connects to the hobby of the girls. The toxic behavior is almost invisible at the surface, but it can really hurt someone. 

With synchronized swimming there is a similar contrast, it’s gorgeous above the surface but quite brutal underwater.

There is one shot where these two things really come together. Keesje jumps into the pool and swims towards the group. We see how hard the group has to work underwater to create the dance. When Keesje is out of sync with the rest of the group the performance falls apart, bringing the underlying bullying to the surface as well.

Bas Andries, the underwater operator, took care of the logistics and technical aspects of that scene. That worked out really well because this allowed me to keep communicating with Emma (director) and gaffer Amit Kumar.

Onderhuids 4

Shooting underwater costs a lot of time. Changing a lens takes about 30 minutes, setting up a shot is also slower. On top of that it’s also physically challenging for the actors. Keeping everyone focused (in a humid pool) is very challenging. Because of that there is less room for improvisation and discovering what a scene offers, you need to have a “waterproof” plan.

The pool that we used had gorgeous warm practicals, we tried to stay as close to this atmosphere as possible with our additional soft tungsten sources. I wanted to stay away from the styril and modern feeling that a lot of pools have these days. It had to be a place where Keesje felt at home.

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The final scene of the movie takes place during the performance they have been working towards during the entire film. Here we did embrace a cooler look to create a more urgent feeling. All eyes are on them.

This by times technically challenging project wouldn’t have been possible without the crew.”

1st ac’s: Dorotea Pace, Marjoke Haagsma, Peter Krijgsman

Gaffers: Amit Kumar, David Koster

Underwater Operator: Bas Andries

Grip: Mick Durlacher, Olaf Robberse

Erik Demeris: Colorist

Producers: Eva Schaaf, Patou ten Cate

Director: Emma Branderhorst

Gear: Camera Rentals