Filming on the Front Lines: “Inside Italy’s Covid War”
“What I wanted to do was tell the story, from the beginning, of the psychological impact this was having on the healthcare workers and...
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“What I wanted to do was tell the story, from the beginning, of the psychological impact this was having on the healthcare workers and...
Colorist Stephen Nakamura details how he worked with Spike Lee and cinematographer Tom Sigel across multiple formats, aspect ratios and visual elements.
“The most important thing for me, was to give the actors the confidence that they can move freely in the cockpit without being disturbed...
“You know those joyful scenes in a thriller or horror movie, right before the hammer comes down, that trick the audience? Well, ‘Ozark’ is...
“The quarantine episode of ‘Mythic Quest’ is a seamless continuation for fans... and a pitch-perfect encapsulation of what it’s like to live through this...
The film uses different aspect ratios and film formats to depict different times and places: 2.39:1 digital for the present-day city scenes, 1.33:1 16mm...
How do we safely resume operations, and how on earth do you make a movie without congregating?
Five-part docuseries investigating the unsolved murders of eight women is now available to watch online.
“It’s taken a pandemic to open the eyes of those not convinced about remote working. Our collective experience will change way we work forever.”
Alongside films like "Memento" and "Pulp Fiction," Damon Lindelof’s graphic novel adaptation breaks new ground.
A visionary media critic and public access television host, Marion Stokes sought to create a comprehensive archive of American television that would one day...
The complexity of the shot required detailed storyboards, a special set house built with removable walls, and a precisely timed choreography.
The online conversation will include “Ozark” cinematographers Ben Kutchins and Armando Salas, along with director and camera operator Ben Semanoff and production designer David...
Shot on outdated 35mm film stock using the Panavision Millennium XL2, augmented with vintage Baltar lenses, cinematographer Jarin Blaschke crafts a moody, jagged black-and-white...
Post production has its own set of challenges when a team is works remotely.
“Simply put, color can affect us emotionally, psychologically and even physically, often without us becoming aware. Color in film can build harmony or tension...
Looking to an immediate future where smaller productions hold sway and innovative ways of telling stories might evolve
How do we safely resume operations, and how can you make a movie without congregating?
The sudden transition has created many lessons learned and developed best practices for the most efficient ways to implement remote work policies.
“You’re looking for a list of the different types of camera shot framing in film,” SC Lannom at StudioBinder says, “but you also want...
Series DP David Mullen discusses the cinematography behind the Emmy-winning series, now in its third season on Amazon Prime.
A 12-minute-long sequence designed to look like one seamless shot that would include several car chases, pile ups, hand-to-hand combat, running through tenements, leaping,...
"The dance of the camera and the mechanics all had to be in sync with what the actor was doing," explains “1917” director Sam...
Company 3 colorist Siggy Ferstl spent a whole year refining a specific look for the Disney+ period piece.
“One of my favorite things about working in this industry is talking to people and learning their stories.”
"I went back and watched a couple of movies were referencing, thinking that they were going to really give us this template for...
For those whose profession involves touching, adjusting and carrying camera equipment, it’s vitally important to face the realities that this virus can remain active...
Let’s discuss eligibility and benefits (and we’ve also compiled a number of other resources)
There are many different ways in which people can and do collaborate remotely. Some methods work quite well. Others are still very much a...
"This is the foundation of the look, painting with light and your camera."
“Condensing the action of one day in the life of someone at the lowest rung of the power hierarchy into an hour-and-a-half cinematic experience...
“Antarctica was seductive to the visual storyteller and we were collecting images that could easily sit on screen for ages.”
"I come up here to Norway to shoot the Aurora every year and I've never seen any other camera show as many faint stars...
Check in with Jason Levine every day for a new challenge
Want to learn from some of your favorite cinematographers about some of your favorite projects?
Filmmakers Josh and Benny Safdie team with acclaimed cinematographer Darius Khondji for a high stakes thriller set in the Diamond District of New York...
"As a narrative feature editor, working in real time with the director is an absolute must."
“What I’m about to share with you has helped me stay creative, efficient, and sane, and I hope it gives you some good ideas...
Adobe is presenting a video livestream series with Jason Levine and special guests, April 14 – 17, 2020.
Editor Michael J. Palmer blends archival footage with newly-shot interviews for prolific filmmaker Alex Gibney’s portrait of the disgraced Russian oligarch-turned political dissident who...
Creating different looks for your videos using the Lumetri Color Panel in Adobe Premiere Pro