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Our Father, the Devil producer and colorist Joseph Mastantuono on how Blackmagic Design's Davinci Resolve software made post production faster
Netflix falls hard; L.A. film production is back; watch the odd spectacle of the Johnny Depp livestream in his lawsuit…
The shooting schedule for Doug Liman’s The Wall was very short—14 days—and the location and conditions were not very forgiving,…
For our series “What’s in Your Kit?,” we ask a range of working cinematographers to share the gear they can’t
American Gothic was the first film for cinematographer McCracken, who’s spent most of her career as a still photographer.
Rúnar Rúnarsson’s characters in Sparrows are unquestionably Icelandic, though they never compromise the universality of their experiences as human beings.
This year at NAB, “immersive experiences” took center stage. It was impossible to walk past a camera demo without overhearing…
Post-production house and distributor Cinelicious Pics restored the lost animated masterpiece Belladonna of Sadness, and the team—Craig Rogers, Caitlin Díaz,
When shooting a project on film, camera tests were a given. They were not something a DP would even have…
There have never been so many good options for non-linear editing (NLE) software. Over the years, one-time industry standard Avid
Switching genres from faux documentary to cinematic thriller, Sarah Adina Smith explains how she shot Midnight Swim using Blackmagic Design…
If you were walking around the floor this year at NAB, you probably noticed that 4K was everywhere. 4K will…
This final installment is going to be all about how to finish your Final Cut Pro X/RED movie at the…