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Camera & Grip

Sundance Cinematographers on The Best and Worst Advice They Received

There’s plenty of advice out there for aspiring filmmakers and cinematographers, some great, some garbage. With that in mind, Indiewire asked the cinematographers of the 2014 Sundance Film Festival what was the best and worst advice they ever received. Best Advice: “Don’t feel pressure to run to the frontline and film. Follow your gut instincts Read MoreRead More

‘Wolf Of Wall Street’ Cinematographer Talks Filming Tricks for Buzzy Quaaludes Scenes

Director of photography Rodrigo Prieto tells THR how he paralleled shots with Jordan Belfort’s feelings and created the effect of Leonardo DiCaprio’s depressant. The Wolf of Wall Street cinematographer Rodrigo Prieto — who earned an Oscar nomination for Brokeback Mountain and shot last year’s Oscar winner Argo — has a reputation for using various cameras Read MoreRead More

5 Pieces of Wisdom from Roger Deakins

Filmmaking is about vision, not about the camera. If you don’t believe me, believe Roger Deakins, perhaps the foremost and celebrated director of photography who’s work includes films from Shawshank Redemption to Skyfall. The Vision Not the Camera Makes the Film Cinematography is more than a camera, whether that camera is a Red an Alexa or a Read MoreRead More

Cinematographer Sean Bobbitt Talks ’12 Years a Slave’

Sean Bobbitt opens up about the artistic choices he made to lens Steve McQueen’s 12 Years as a Slave. There’s a good reason why Steve McQueen’s “12 Years a Slave” is the early consensus Oscar frontrunner for best picture: Solomon Northup’s harrowing story is both real and relatable in these precarious times. And for cinematographer Sean Read MoreRead More

To Shoot Better Video, Focus on Photography

David Geffen discusses crossing the increasingly blurry divide between video and stills and how these two disciplines can learn from each other. Whenever I see poorly executed video though, I can’t help but think back to this quote: “So many people think cameras and lenses are getting better. They are. But cameras are stupid no Read MoreRead More

Behind the Lens: The Lone Ranger’s Bojan Bazelli

Bojan Bazelli, ASC, working with Director Gore Verbinski, designed and executed a unique look for The Lone Ranger. With a nod to the much-filmed Western genre, they made a uniquely contemporary film with a much more desaturated color palette and a grittier look to the classic locations. The Lone Ranger is a by-product of Gore Verbinski Read MoreRead More

Which Camera for Which Genre? Five Questions for D.P. Timur Civan

Filmmaker Magazin interviews Timur Civan on his take about on different cameras for different genres. As an undergrad at NYU, Timur Civan studied sculpture before moving into video. “I became really interested in video because I was able to bring time into my sculptural work,” he says. Civan has produced a wide variety of work, Read MoreRead More

The Power of Camera Filters

Cinematographer Ryan E Walters talks about why sometimes its better to apply filters on set to dial in the look as opposed to applying effects in post-production. As a cinematographer, one of my responsibilities is to craft the image to reinforce the story I am helping to tell. While lighting, framing, and camera movement are Read MoreRead More

Cinematographer Vilmos Zsigmond’s Technique Comes Into Focus

The cinematographer tells of the influences and methods that shaped his work on the new film ‘Compulsion.’ At 83 on June 16, Vilmos Zsigmond — regarded as one of the 10 most influential cinematographers by the International Cinematographers Guild — still has a full plate. The Big Sur-based cinematographer for such classic ’70s films as Read MoreRead More

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