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The everyday viewer probably only notices cinematography when it's flashy, but the fundamentals carry the story.A recent video from StudioBinder Academy is built on Joseph V. Masce...
Camera movements play a crucial role in shaping the visual language of a film, guiding how viewers experience and interpret a story. In his breakdown, Dan Kieft examines a range of...
It would be hard to name any films better than Singin' in the Rain (1952). The movie is just this wondrous ride through classic Hollywood that is also a masterclass in musical chor...
Night shoots. Sometimes the idea alone is enough to cause a panic attack in a filmmaker. They're hard, they take a lot of time, and they create unique challenges for your cinematog...
Think of one of your favorite films. How does it handle its locations? How does the film give you an idea of the world its characters inhabit? Maybe a big sweeping crane shot? A lo...
Martin Scorsese has made some of the most meticulously composed images in American movies. I mean, have you seen the Copa tracking shot? What about the stark black-and-white drama...
When you're deep in a screenplay draft, it's easy to obsess over dialogue and structure and forget entirely about how your scenes might be lit. That's a production concern, right?...
One Battle After Another, Paul Thomas Anderson's action drama, shot by cinematographer Michael Bauman in VistaVision, is one of the best-looking films in recent memory. We've writt...
Filming fireworks is harder than photographing them: low light, moving crowds and split-second timing are all issues. Here's how to get steady, well-exposed footage this Fourth of...
Director Denis Villeneuve’s crime thriller, Sicario, is among his most underrated works despite its critical and audience acclaim. Released in 2015, the film marked the second coll...
Obsession has grossed over $290 million worldwide on a budget somewhere between $750,000 and $1 million. Its driving scenes look like something shot on a major studio stage. They w...
If your editor dreads getting your footage, that's a problem. So, this is for you. Jesse Senko is a photographer and director with a background in advertising. He's had years of co...
Blocking is one of those things that sends fear into the heart of filmmakers. You have to decide where to put the camera and the people. It's a lot of decisions to make when you ge...
You know that I'm always going to seek out the horror films on a festival schedule, which I was so delighted to see Recluse during the Tribeca Film Festival this year. The gothic c...
Choosing between objective and subjective camera coverage is one of the most consequential decisions you make when planning a scene. The difference between showing an audience what...
High production value is one of those things we're all probably striving for, but it can be elusive. When we say that, you probably think that the story feels real and everything l...
If there's one thing you can always count on for Steven Spielberg, it's the fact that he loves to shoot on film. His new movie, Disclosure Day, is no exception. They shot on 35mm.W...
Veterans of the CBS show's camera team explain how they work behind the lens to turn a reality competition into cinematic filmmaking.
Cinematographers from “Love Story,” “The Chair Company,” “The Testaments,” “Star Trek: Starfleet Academy,” and “Shrinking” convened to discuss their process at IndieWire's Craft Ro...
If you haven’t been watching Widow’s Bay, get out of this tab right now before you spoil yourself. Then come back, because we’ve got a behind-the-scenes look at one of the show’s b...
Cinematographer Celiana Cárdenas talks about changing lenses and aspect ratios to depict the feverish intensity of the Bowden family's bad trip.
It is all too easy to dismiss the over-the-shoulder shot as “the common,” “the mundane,” or “the classic dialogue coverage.” We see it everywhere, from television to big-budget blo...
Want to shoot high-quality car-to-car footage at a fraction of the price of a typical pro camera rig? Here is how we did it on a budget and with a crew of 2.
As we know, match cuts are not seamless transitions, intended to sustain the immersion of the audience. On the contrary, they are loud and furious, drawing all attention to themsel...
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