The place to discuss, share content and offer advice and tips on all things lighting, framing, cameras, lenses and technique
NAB 2026 opens tomorrow in Las Vegas and runs through April 22. For anyone who follows gear, technology, and production trends, this is the week when a lot of announcements land.
On the cinematography side, CineCentral sessions this year include a talk by Roberto Schaefer ASC, panels on exposure and...
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I’m watching the Netflix Nordic series DETECTIVE HOLE starring Joel Kinnaman and I have to say the cinematography on this show is unreal.
Diz Sharpe ,for Bourne Ultimatum Window Crashing Scene ,he nailed it
I've got a list, Alice Brooks, Christina Alexandra Voros, Ari Wegner, Rachel Morrison, Dan Lautsen, Haris Zambarloukos, Stuart Howell. There's probably more that I can't think of at the moment.
I've got two of them & others on my list too, Jack Teague !
Vilmos Zsigmond (favorite: McCabe & Mrs. Miller)
Andrzej Bartkowiak (favorite: The Verdict. Andrzej’s ability to shoot interior scenes in a stunningly beautiful manner is amazing. Some of the interior...
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I'm loving all of your responses here. I just watched Crime 101 - several of you brought it up, I agree - that was a beautiful film. (off topic - reminded me of old school 80's/90's movies we used to see - not as good as them - but love those fun rides)
My name is Jose Armando Olivera Enriquez, a screenwriter from Peru and creator of the registered sci-fi project “AROLEN’S.”
I am reaching out to present a high-concept feature film that combines real h...
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Hi Jose Olivera - Id recommend putting this post up in the Introduce Yourself lounge so you can network for introduce yourself weekend: https://www.stage32.com/lounge/introduce_yourself...
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Few films in recent memory have demanded as much scientific rigor from their cinematography as PROJECT HAIL MARY, and director of photography Greig Fraser rose to that challenge with a combination of old-school technique and unexpected ingenuity. To recreate the sun's alien appearance from deep spac...
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Foreground objects are one of the most underutilized tools in the frame. When used with intention, they do several things at once -- they create depth, direct attention, and add context without the di...
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My name is Jose Armando Olivera Enriquez, a screenwriter from Peru and creator of the registered sci-fi project “AROLEN’S.”
I am reaching out to present a high-concept feature film that combines real h...
Expand comment
An interview I did with Consequence of Sound podcaster, host and legend behind the mic, Kyle Meredith. We talk a lot about story, cinematography, and much more. If you listen, I hope you enjoy!
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Amanda Toney Excellent and cued up for this evenings content! I just bought How to Prep to Sell Your Completed Feature Film at a Film Market and Plan Your Film Festival Strategy in the "New Normal" -...
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Hey cinametogs! I want to know whether I’m being cleverly minimalist or just plain cheap and delusional.
I’m after a slow move from a dark, gloomy passage between buildings out into an open street with a proper shift in light. I do not want the camera helpfully “fixing” the exposure for me like some...
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In case it's not too late since I just found this post, it's probably better just to use a small cinema camera... rent/borrow a Black Magic Pyxis or Pocket cinema camera, or a Red Komodo or Komodo-X....
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I'm in agreement with Rakesh Malik
Ha! "Caffeinated baboon" is my new favorite camera term. Honestly, if you lock exposure manually and the GoPro doesn't try to "help" (big if), you might pull it off. But for a slow, intentional move l...
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I have tried the GoPro on manual but it is a pain to use, requiring an iPad or similar along for the shoot to change settings. Incidentally, I did finally shoot with a cine-cam, I actually shot the sc...
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Let us know how it turns out!
It was fun being interviewed by the Palm Springs Screenplay Awards for being a finalist. There's a little in there about being a DP.
Read on...
https://www.palmspringsscreenplayawards.com/mike-fitzer-interview.html#/...
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A few things worth knowing about this month:
The April issue of American Cinematographer is out, covering Project Hail Mary, The Bride!, Wuthering Heights, and Amrum. Linus Sandgren breaks down his approach to Emerald Fennell's Wuthering Heights adaptation, and the issue includes a report on a perfor...
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I'm especially excited to see what new cine gear emerges from NAB this year, and that ARRI partnership for Europe's largest virtual production stage sounds like a game-changer for how cinematographers can shape light and atmosphere on set.
I'm curious about NAB. Also, over the past few months, I've read a couple of rumors about ARRI: one about a possible sale (I hope not) and another about a hypothetical Alexa Mini "for the masses" (this one might be interesting).
Cinematographer Greig Fraser ACS, ASC breaks down the visual and lighting approach behind Dune: Part Two, from the film’s colour journey (Caladan to Giedi Prime to Arrakis) to the practical challenge of creating realistic “sun” on set.
Fraser talks about building sharp, clean shafts of light, the pro...
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Fraser discussed one of his biggest challenges: How was he going to light the tunnel? “In the past, what people have done to move light is they put a light on a frame and moved it over a window or through something, but we had to have the entire tunnel being hit by the sun.”
“The tunnel had a bit of...
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This is a great example of practical problem-solving winning over reaching for the newest technology. The instinct to go back to tungsten when LEDs simply could not produce the volume of output needed...
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