2015
“12 Angry Men Inside Amy Schumer”: Carefully Reimagining a Cinema Classic
Shot by series director of photography Jonathan Furmanski, the 22-minute sketch has been heralded as an excellent re-creation of its source material.
2015
2015
Irascible, Irrepressible ‘Iris’: Inside the Affectionate Documentary from Albert Maysles
Shortly before his death, the late, legendary filmmaker spoke to us about his final completed film.
2015
Company 3 Creates Tones for ‘Paper Towns’
When color grading Paper Towns, director Jake Schreier wanted the visual feel of the coming-of-age film about a mysterious girl’s disappearance to walk the...
2015
Buyer’s Brief: Video Recorders
In this Buyer’s Guide we examine a number of video recording devices that allow you to ingest, manage, store, play back and output your...
2015
Buyer’s Brief: Portable Storage
In this Buyer’s Guide we examine a number of options for portable storage—products engineered to let you move and manage your media, whether you’re...
2016
Buyer’s Brief: Lenses and Accessories
This month’s Buyer’s Guide showcases some of the latest advances in optics and imaging technologies. Canon U.S.A. Compact-Servo 18-80mm Zoom The Compact-Servo 18-80mm zoom...
2015
Glidecam Helps Stabilize Parkour Footage
Chad Bonanno has an unparalleled passion for filmmaking. He came up the ranks of parkour and freerunning, athletic disciplines that require both speed and...
2016
Ikegami Cameras Shoot ‘Lady Day at Emerson’s Bar and Grill’
The iconic Billie Holliday is brought to life in HBO’s broadcast production of the Broadway musical Lady Day at Emerson’s Bar and Grill. The...
2016
Zeiss Milvus Lenses Offer Expanded Cinematographic Options
“In order to be able to smoothly adjust the aperture, you had to send the lenses to specialists, who would then reconstruct them.” Aside...
2016
Shooting in the Kitchen with Schneider Kreuznach
Director/cinematographer Andrew David Watson has traveled the world, following his passion for interesting and challenging documentaries. Watson was recently called on to profile chef...
2016
Manfrotto Digital Director Brings Precision to Macro Photography
I have been using the Manfrotto Digital Director for the Apple iPad Air 2 for the last three months and have found it to...
2016
The Winter of ’79: The Evocative Noir of ‘Fargo’
“We’re shooting 1979, and everything had to work in the period—every sign, building and car," says the DP.
2015
Cooke Anamorphic/i Lenses Hold Color and Contrast on ‘Stratton’
I chose to shoot the action thriller Stratton anamorphic partly for the aspect ratio, but also because I like the look of anamorphic lenses...
2015
Redrock’s microRemote Nails Focus for “Magnum Opus”
Sam Nuttmann was the DP/operator behind many of the hottest videos for the launch announcement of the Freefly MoVI gimbal. He’s since gone on...
2015
Hula Provides Post Facilities for True-Crime Thriller ‘Captive’
Hula Post provided editorial systems, facilities and support to editor Melissa Kent for her work on the Paramount Pictures feature Captive. Kent spent six...
2015
Reed Morano, ASC, Relies on ARRI/Zeiss Master Anamorphics
How did you achieve the look and style of the film? Reed Morano: I knew with the Alexa I could get the look I...
2015
EFILM Colors the Final Chapter of ‘The Hunger Games’
EFILM recently completed color grading on the 2D, 3D and Dolby Vision versions of The Hunger Games: Mockingjay Part 2. Colorist Mitch Paulson worked...
2015
Sigma Lenses Deliver Edge-to-Edge Sharpness for Cork Factory Films
Unlike most commercial still photography work, video relies more on the ability to work with existing light. Typically, these are lower-light situations where your...
2015
‘Zoe Ever After’ Sitcom Style Relies on Fujinon Cabrio Lenses
For the new sitcom Zoe Ever After, we decided to shoot in a style that harkens back to the sitcoms of the 1980s and...
2015
Sarofsky Plays with Scale and Size in ‘Ant-Man’ Titles
For the title sequence of Marvel’s Ant-Man, created by Sarofsky, a camera descends through a dark universe, moving from one field of luminescent shapes...
2015
Melancholy, Baby: Perfecting the Pace, Tone and Palette of ‘Carol’
Carol is a love story between two people from different backgrounds set in a society in the midst of a cultural shift. Read our...
2015
Blackmagic Cinema Cameras Capture the Action on ‘Rush Hour’
Christian Sebaldt, ASC, cinematographer on the CBS cop drama Rush Hour, is using the Blackmagic Cinema Camera PL to shoot selected action, stunt and...
2015
Sony PXW-FS5 First Look: Float Like a Butterfly, Sting Like a Bee
Sony’s PXW-FS5 is light and ready to fight.
2015
The Big Picture: Sony Catalyst Production Suite Offers Broad Feature Set
The Sony Catalyst Production Suite consists of two applications: Catalyst Prepare and Catalyst Edit. The applications may be used independently or together to streamline...
2015
Editing Additions: New Applications to Advance Your Workflow
These four applications just might have room in your toolbox in the new year.
2015
Tips to Clip: January 2016
More on Cable Ties Our thanks and a Tipster Tool Tote go out to John Wetmore for sharing this adventure. John says, “I have...
2015
One Down: 49 Film Festivals to Go
Here’s My First Acceptance Congratulations! Your New Media submission, “We Built A Ship” (17-minute version), has been officially selected into the 7th Annual New...
2015
Editor’s View: One-Take Wonder
Absolutely the only way to start a new year is with inspiration. (You can’t dwell on mistakes you made, opportunities you missed or cookies...
2015
The Mini Makers: Production Successes with the Blackmagic URSA Mini
URSA Mini offers the features of a full-size production camera miniaturized into a lightweight, compact design that makes it easier for small crews and...
2015
Tension and Timelines: How Editor Joe Walker Escalated the Suspense on ‘Sicario’
Sicario is an emotional and suspenseful look into the dark side of the war on drugs as told by Canadian director Denis Villeneuve (Enemy,...
2015
Darkness Falls: Realizing the Visuals for Dance Series ‘Flesh and Bone’
"I enjoyed that vérité style for this series. It was very liberating—but I think only possible with the Alexa," says DP Terry Stacey.
2015
Editing ‘Steve Jobs’: “An Action Film With Words”
"We knew the information would come fast and we didn't want the audience to feel pummeled," says editor Elliot Graham.
2015
‘The Revenant’: Inside the Film’s Cold, Wet, Dirty, Determined Production
The Revenant was shot in remote forests, at 9,000-foot elevation and in -30° F temperatures. Read our full story here.
2015
‘A Very Murray Christmas’ Brings Netflix Viewers Holiday Cheer
"Our biggest challenge was having to material very quickly due to talent availability, the budget, the weather and the use of various facilities,”...
2015
Territory Develops UI Elements for ‘The Martian’
Territory, represented by ODD (Office of Development & Design), partnered with specialists at NASA to design the user interface (UI) technologies featured in the...
2015
‘Legends and Lies’ Produced with Panasonic VariCam 35
Warm Springs Productions is currently at work on the second season of the Fox News Channel docudrama series Legends and Lies, using a pair...
2015
Sony Cameras Combine for Supernatural Thrills
Director of photography John W. Rutland employed a combination of Sony cameras—PMW-200, NEX-FS700 and a7S—for Paranormal Activity: The Ghost Dimension, the sixth installment in...
2015
FotoKem Grades and Edits ‘Ash vs Evil Dead’ Pilot with Resolve
FotoKem performed grading and online editing services on the pilot episode of Starz’ Ash vs Evil Dead television series, the long-awaited follow-up to the...
2015
Making ‘Meru’: How the Crew Documented Their Perilous Climbs
Mount Meru in northern India rises 21,000 feet above the Ganges River, nowhere near as high as Mount Everest, the peak that gets all...
2015
Maps, Mystery and Constant Motion: Building the Frenetic Pace of ‘Blindspot’
A beautiful woman, with no memories of her past, is found naked in Times Square with her body fully covered in tattoos. Her discovery...
2015
Conquering ‘Everest’: Intense Soundscape Brings Audiences to the Heart of the Action
“We needed to make this story as real to life as possible," says sound designer/sound editor Glenn Freemantle.