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Some of my favorite DOLLY ZOOMS. From the one that

Some of my favorite DOLLY ZOOMS. From the one that started it all (Hitchcock’s VERTIGO, 1958) to the most widely referenced (Spielberg’s JAWS, 1975), to one of the most recent (SEVERANCE, 2025).

My personal favorite is the black and white shot from Scorsese’s RAGING BULL, 1977. But also love the slow, more subtle effect on Scorsese’s classic GOODFELLAS, 1990.

#filmmaking #filmmaker #cinematography #cinematographer

This brilliant short film was made by @diediebooks

This brilliant short film was made by @diediebooks and defied all odds - making huge waves at only 80 seconds long. It’s a masterclass in storytelling, deceptively simple and one of those ideas that just sticks with you.

It is called “Dead Grandma”

Written and directed by Rachel Kempf & Nick Toti.

Link to watch the full film on their YouTube channel: https://youtu.be/nqNrxE2Ce7k?si=5yv9Yqg7eF1aesSC

#filmmaking #filmmaker #cinematography #cinematographer #shortfilm

Love seeing vintage standard-def tape formats resu

Playing some @sublime to test gear ahead of record

Playing some @sublime to test gear ahead of recording my first musical score for an upcoming short film. Excited to collaborate with @craigsaltz who has written the music for most of my other films.

We’re gonna use a lot of guitar and other analog effects to bring it all together. And the final tracks will be available to license for film & tv through @soundstripemusic, who is a producer on the film. More to share soon!

#filmmaking #guitar #sublime

New film stock alert: VERITAS 200D! Kodak specific

New film stock alert: VERITAS 200D! Kodak specifically designed this for Euphoria cinematographer Marcel’s Rév, as he was looking for a more classic Hollywood color palette.

Modern film stocks like VISION3 are incredibly clean and color accurate, making them less distinct from digital capture compared to older vintage stocks. This new format is daylight balanced and produces images with detailed highlights, vivid saturation, deep blacks and warm skin tones - creating an old Hollywood film look. Currently it’s available in 65mm, 35mm and 16mm formats, but hope to see it on 8mm soon too.

#filmmaking #filmmaker #cinematography #cinematographer

It’s all about lighting. #filmmaking #cinemato

It’s all about lighting.

#filmmaking #cinematography #artemis

Tungsten lighting is one of the secret ingredients

Tungsten lighting is one of the secret ingredients that made EX MACHINA look so good. While 99% of productions opt to use LED sources, cinematographer Rob Hardy took a more vintage approach. He used warm, tungsten sources almost exclusively throughout the entire film, which brought an unmistakeable human touch and warmth to the otherwise sterile and futuristic environment. The goal was to use the light to bridge the gap between Ava’s synthetic body and her human-like consciousness.

He also set up over 15,000 tungsten “pea bulbs” that were built into the sets. This helped create a more gauzy and atmospheric look:

“I think smaller units have a softer feel. When you have a numerous amount of them and you put them through enough diffusion, they tend to give a certain kind of light. I don’t want to feel like I read the lights. I want it to feel like it emanates from the frame rather than it being placed there. I liken it to the difference between Vermeer or Rembrandt. With Vermeer, you look at those paintings and you can see the source of the light and there’s nothing wrong with that. They’re incredible paintings. However, if you look at Rembrandts, you can’t really tell where the source is, but it has an amazing mood and I find it much more subtle and much more interesting, and for me personally it elicits much more emotion.”

- Rob Hardy

#filmmaking #filmmaker #cinematography #cinematographer

Steven Spielberg brilliantly stole these shots fro

Steven Spielberg brilliantly stole these shots from The Wizard of Oz when he was making War of The Worlds nearly 70 years later.

The original Wizard of Oz scene is legendary for its innovative use of color. To make it appear like Dorothy’s world was changing from sepia to color, the filmmakers painted the sets and wardrobe beige, and used a body double for Judy Garland so they could shoot the full sequence in color, but still make the interior feel black and white.

Spielberg recreated this sequence shot for shot, but rather than entering a beautiful technical world, his version introduces a bleak, chaotic color palette that represented the destruction cause by the alien invasion. Being the master storyteller he is, he didn’t simply lift the idea, but instead payed homage to it while making it his own.

#filmmaking #filmmaker #cinematography #cinematographer

Huge congrats to SINNERS DP Autumn Durald Arkapaw

Huge congrats to SINNERS DP Autumn Durald Arkapaw for taking home a well deserved Oscar for best cinematography. This film was uniquely shot on a mix of 15 perf IMAX film and 5 perf Ultra Panavision 70, creating a juxtaposition of large format 1.43:1 footage and extremely wide 2.76:1 frames that make for a truly original look, especially when viewed on an actual IMAX screen.

The film also makes brilliant use of telephoto lenses, petzvals, and other custom optics that make for some of the best shots of the year.

#filmmaking #filmmaker #cinematography #cinematographer #oscars

Color palettes of all 5 Oscar nominees for best ci

Color palettes of all 5 Oscar nominees for best cinematography.

The first 3 movies (One Battle After Another, Marty Supreme, Frankenstein) all share heightened stylization, and at times dip into the teal and orange look. While the other two films (Train Dreams and Sinners) are much more naturalistic with earthy tones and a more organic look.

All are beautifully shot, but the more natural palettes are more my preference when making films, and Train Dreams stands out as a personal favorite from the year. How about you?

#filmmaking #filmmaker #cinematography #cinematographer

Christopher Nolan accidentally discovered the fina

Christopher Nolan accidentally discovered the final edit of The Dark Night in post, when he noticed a single lens flare from a film light. These couple of frames ultimately determined the final sequence of cuts, in what Nolan described as an “unusual choice that just felt right”.

#filmmaking #filmmaker #cinematography #cinematographer

Love it when filmmakers use the “film out” pro

Love it when filmmakers use the “film out” process to give digital footage an analog touch during the finishing stage. On PROJECT HAIL MARY, cinematographer Grieg Fraser shot on Arri Alexa 65 and Mini LF digital cinema cameras, but then printed the footage onto real film stock so it could be re-scanned before creating final masters. This gave the best of both worlds, the flexibility of digital on set, and the color quality and grain structure of film in post. He also used this technique on several other films including Dune and The Batman.

#filmmaking #filmmaker #cinematography #cinematographer

Kubrick was a master at breaking the 180 degree ru

Kubrick was a master at breaking the 180 degree rule. This scene from THE SHINING is a prime example, where the eyeline almost invisibly switches from left to right. Normally this would be a jarring cut, but because Jack Nicholson is perfectly framed in the second shot, your eye traces right to him from the butler, and it feels unsettling without being a distraction. Kubrick also frames certain shots increasingly tighter to create a claustrophobic tone.

Another recent example of this can be found in PLURIBUS. In this case, a transitional shot is used to cleanly break the 180 degree plane, as the eyeline is directed almost exactly at the camera. This pivotal shot allows the cut to feel seamless while “jumping the line”.

I used this technique myself on an upcoming film, and learned a lot from the process. Will share some more examples soon!

#filmmaking #filmmaker #cinematography #cinematographer

SINNERS was brilliantly shot with a mix of two uni

SINNERS was brilliantly shot with a mix of two unique formats: 15-Perf IMAX film and 5-Perf Ultra70. This resulted in a juxtaposition of images that were extremely wide aspect (2.76:1) and extremely tall (1.43:1), helping to better tell the story visually. Just one of many incredible choices by DP Autumn Durald Arkapaw who took home the Academy Award this past weekend.

#filmmaking #filmmaker #cinematography #cinematographer

Spielberg is known as a master of the “oner”.

Spielberg is known as a master of the “oner”. Often combining multiple shot sizes and frames into a single take. He does it so seamlessly you don’t even realize it’s happening. This is just one of countless examples.

#filmmaking #filmmaker #cinematography #cinematographer

Huge congrats to SINNERS DP Autumn Durald Arkapaw

Huge congrats to SINNERS DP Autumn Durald Arkapaw for taking home a well deserved Oscar for best cinematography. This film was uniquely shot on a mix of 15 perf IMAX film and 5 perf Ultra Panavision 70, creating a juxtaposition of large format 1.43:1 footage and extremely wide 2.76:1 frames that make for a truly original look, especially when viewed on an actual IMAX screen.

The film also makes brilliant use of telephoto lenses, petzvals, and other custom optics that make for some of the best shots of the year.

#filmmaking #filmmaker #cinematography #cinematographer #oscars

Color palettes of all 5 Oscar nominees for best ci

Color palettes of all 5 Oscar nominees for best cinematography.

The first 3 movies (One Battle After Another, Marty Supreme, Frankenstein) all share heightened stylization, and at times dip into the teal and orange look. While the other two films (Train Dreams and Sinners) are much more naturalistic with earthy tones and a more organic look.

All are beautifully shot, but the more natural palettes are more my preference when making films, and Train Dreams stands out as a personal favorite from the year. How about you?

#filmmaking #filmmaker #cinematography #cinematographer

Love the brilliant innovation on AD ASTARA by cine

Love the brilliant innovation on AD ASTARA by cinematographer Hoyte van Hoytema. To make it truly appear as if the footage were shot on the moon, he rigged up two cameras to capture identical frames. The first was a 35mm panavision film camera, and the second was an infrared Arri Alexa.

This allowed them to shoot in bright daylight, which created shadows consistent with real moonlight, and then process the footage in post to replace the sky using the infrared footage. The result was a far more authentic look than they could have achieved with traditional film lighting.

This approach was later refined by Hoyte van Hoytema for the extensive night exterior scenes in Jordan Peele’s NOPE, one of the best recent examples of the day for night technique.

#filmmaking #filmmaker #cinematography #cinematographer

Almost picture locked on our upcoming film (Jack &

Almost picture locked on our upcoming film (Jack & Christine), which will hit festivals soon. Was such a treat to direct these amazing actors - @nikkilorenzo @iamlukebarnett and the legendary John Hawkes. We did multiple table reads to workshop the script, and I ended up writing 24 drafts to get it just right - a lot of tinkering but necessary to add the layers and depth the story hinged on. Excited to share with all of you soon.

Huge thanks to our crew including @andychinn @theryanvan and of course @tvacom for supplying the best gear. Not to mention our amazing producing team @iamrichhandley and @launch.releasing

#filmmaking #filmmaker #cinematography #cinematographer

Crazy the difference in color and mood between the

Crazy the difference in color and mood between the original EYES WIDE SHUT Blu Ray and the Criterion 4K restoration. Some have debated which is more effective - with the restored version being cooler, higher contrast, and more vivid overall. Which do you prefer?

#filmmaking #filmmaker #cinematography #cinematographer #colorgrading

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