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The Oscar winner, who has 'Dune: Part 3' in theaters this December, says of choosing which format to shoot a film on: "It's a tool to serve the story."
The American Society of Cinematographers has a familiar face back in the president’s chair. Shelly Johnson, ASC, has been elected to lead the 107-year-old organization, taking the...
The medium (120/220) format is revered for its immense resolution. On film, switching from full-frame (35mm) can dramatically reduce grain and add significant detail that smaller f...
David Baca is an American photographer with a portfolio encapsulating the diverse beauty of nature. His work, whether focused on the detailed structure of a flower or the expansive...
Director Christopher Nolan with cinematographer Hoyte van Hoytema, ASC on set of the film. The post On The Set Pic: ‘The Odyssey’ appeared first on befores & afters.
RED’s Behind the Look Highlight Reel II features a wide array of cinematographers and filmmakers discussing their creative processes and the technical advantages of using RED Digit...
"Less direction is better in pretty much everything."This is insight from award-winning filmmaker Matt Porwoll, DP of All the Empty Rooms, which won the Oscar for Best Documentary...
Astrophotographer Andrew McCarthy persuaded Artemis II commander Reid Wiseman to shoot bracketed moon bursts from orbit, and the atmosphere-free data has produced the most detailed...
Daniel MacPherson aligns with leading production company for people with disability in the screen industry.
Christian Sprenger, ASC, is a two-time Emmy winner for his work on Atlanta ("Teddy Perkins," "Three Slaps") and a decade-long collaborator with director Hiro Murai. (He also shot a...
Cinematographer Adam Bricker tells IndieWire about the joys of getting to always have Paris, and also five seasons of an HBO series.
Left: Two IMAX film projectors. Right: Two digital IMAX projectors. Do note, this isn't the caliber of equipment you're likely to find in your local theater, even at "IMAX"-branded...
Aputure has unveiled its new STORM CS32, which they claim is the brightest fully tunable color fixture in its point source line of LED lights. The STORM CS32 features Aputureâ€â...
Wins for Australian Story, Madam, The Kimberley, Love on the Spectrum and more.
More than 1,200 visual effects artists, filmmakers and luminaries gathered in Los Angeles on February 25, 2026, as the industry celebrated the artistry, innovation and magic that b...
By BARBARA ROBERTSON Images courtesy of Industrial Light & Magic. Gene Kozicki, pictured here, and Brooke Breton worked in partnership with the Science and Techn...
Minamata (2020) movie trailer cover Image: Samuel Goldwyn Films Featured films are not necessarily the first thing you consider when selecting a topic for a photography discuss...
There’s a change at the top of Location Managers Guild International. The group said Tuesday that Danny Finn was elected president in a unanimous vote. Succeeding John Rakich in th...
The museum will present classics like "Gunfight at the O.K. Corral," "The Ten Commandments," and "White Christmas" — as well as Paul Thomas Anderson's "One Battle After Another" —...
Project Hail Mary has been a massive success, grossing $420.7 million so far. Part of the appeal is the incredible photography, which comes off effortlessly. But the cinematographe...
Aputure previews its brightest-ever tunable color COB light ahead of NAB, and ships a major Sidus Link Pro update with integrated 3D lighting previs.
Veterans of the CBS show's camera team explain how they work behind the lens to turn a reality competition into cinematic filmmaking.
Cinematographer James Laxton tells IndieWire about expanding the visual scope of 'Beef' and the shot that brings all the characters together.
Ahead of its Friday opening at the Hungexpo Exhibition Centre in Budapest, the Eurocine Symposium 2026 has unveiled a two-day program with more than 50 sessions spanning AI, color...
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