“A Visceral Feeling”: Boots Riley on I Love Boosters
The writer-director discusses his transition from musician to filmmaker and his new absurdist crime comedy.
Old Ways, New Tech: Miniature Magic for The Mandalorian and Grogu
Cinematographer David Klein, ASC and ILM’s John Knoll reveal how motion-control miniatures, a custom-built LED volume, and a long-lost 1976 Y-Wing helped bring Jon Favreau’s practical-effects vision to the big screen.
Spider-Noir: Shooting Black-and-White and Color at Once
How the 1930s superhero story — shot by Darran Tiernan, ISC and Peter Deming, ASC — was given two presentational formats, finished from the same frames.
200 Candles and No Electricity: Reimagining JFK Jr.’s Wedding for Love Story
Cinematographer Pepe Avila del Pino reveals how he re-created the fabled 1996 wedding that almost no one photographed.
Task: How a Robbery Scene Builds Tension Through Limitation
Cinematographer Alex Disenhof, ASC shares a lighting plot and breaks down how a single-shot strategy helped a key sequence from the crime series break from traditional coverage.
The Gymnastics of Cinematography: DTF St. Louis
Cinematographer James Whitaker, ASC details how his work on the dark-comedic series pushed him to rethink on-set lighting rigs for real-time control and simulated sunlight.
Avoiding Action Fatigue: How a Fight Scene From Normal Was Shot to Stand Out
The action-thriller’s cinematographer shares a lighting plot and details his use of strobes, practical rain and a global shutter to capture a blizzard-bound set piece.
Hard Light in Black-and-White: Shooting The Stranger
Cinematographer Manu Dacosse, SBC conjures harsh, hot atmosphere for director François Ozon’s film, which offers a monochromatic vision of Albert Camus’ classic novel.
A Love Story in Cool and Warm Tones: Creating the Look of Heated Rivalry
Cinematographer Jackson Parrell details the custom LUTs, LED-volume work and practical-driven lighting scheme that helped create the low-budget sports-romance series’ distinctive visuals.
The State of Shooting on Film — Part II
In the second installment of our two-part story on the state of shooting on film, we ask: How can we make motion-picture film more accessible?