Menu

Blog
Podcast
Newsletter
Shop
About
THE BACKLOT
Log In

NOAM KROLL

NOAM KROLL

NOAM KROLL

Blog
Podcast
Newsletter
Shop
About
THE BACKLOT
Log In

Destinee

PODCAST: Raising Your Budget On WeFunder With Filmmaker Vivian Kerr

In this episode, I am joined by filmmaker Vivian Kerr to discuss her journey from acting to directing and how she successfully brought her first two feature films to life without traditional industry connections. Vivian’s debut feature, Scrap – a…

Continue Reading

PODCAST: How To Shoot A 7 Day Feature Film With Filmmaker Ethan Hegel

In this episode, I am joined by filmmaker Ethan Hegel, who recently made his feature directorial debut with Purgatory…

Find me on Instagram

noamkroll

noamkroll

Filmmaker & Creative in LA 🎥☀️🌴
New blogs, podcasts & newsletters each week +
Post-production tools @cinecolor.io 🍊

I love films like BLUE RUIN that are able to push

I love films like BLUE RUIN that are able to push prosumer equipment to the limits and achieve these kinds of visuals. This movie came out 12 years ago and was shot on the original C300 Mark I with standard Canon L-Series lenses, yet it still constantly comes up in discussion as a reference for cinematography. The same can’t be said for hundreds of films that have come out since shot on much more elaborate gear.

#filmmaking #filmmaker #cinematography #cinematographer

Pretty amazing the entirety of THE STUDIO was shot

Pretty amazing the entirety of THE STUDIO was shot on a single 21mm lens (Master Prime), which created a seamless and immersive experience from take to take and even between episodes. It was paired with the Alexa 35, some in-camera film texture, and incredible handheld operating, to make one of the nicest looking shows out there. The set was lit 360 degrees and relied on negative fill for light control, with the look further perfected in the grade with some truly amazing color work.

Between the minimalistic approach to camera and the use of long takes, it’s a perfect case in point for embracing limitations to achieve more creative results.

@sethrogen

#filmmaking #filmmaker #cinematography #cinematographer

I love the cinematography in Yorgos Lanthimos’ K

I love the cinematography in Yorgos Lanthimos’ KILLING OF A SACRED DEER. Such powerful use of extreme wide angle lenses (10mm, 12mm & 17mm), which were combined with slow zooms and camera placement way above or below eye level for some of the most unique coverage in recent memory. Shooting on 35mm film stock (mostly 200T and 500T) didn’t hurt either!

#filmmaking #filmmaker #cinematography #cinematographer

I’m always fascinated by the “Film Intermediat

I’m always fascinated by the “Film Intermediate Process” where a project is shot digitally but then printed to film, and scanned back in to make a final export. The idea is to capture a more realistic grain and texture than you would with digital film emulation tools alone.

#filmmaking #filmmaker #cinematography #cinematographer

No artist has reached their potential without an i

No artist has reached their potential without an immense amount of time spent working on their craft. Finding a way to make movies on your own terms is the fastest way to get your 10,000 hours in.

#filmmaking #filmmaker #cinematography #cinematographer

Crazy how the original photo used at the end of TH

Crazy how the original photo used at the end of THE SHINING was uncovered after decades of searching, thanks to facial recognition technology and the work of researcher Alasdair Spark:

“At last, it has been found. Following the earlier identification by facial recognition software of the unknown man in the photograph at the end of ‘The Shining’ as Santos Casani, a London ballroom dancer, I can reveal that the photo was one of three taken by the Topical Press Agency at a St Valentines Day Ball, 14 February 1921, at the Empress Rooms, the Royal Palace Hotel, Kensington.”

#filmmaking #filmmaker #cinematography #cinematographer #horrorfilm

Cool slow exposures + a still by the talented @ash

Cool slow exposures + a still by the talented @ashujo_momentos !

#slowexposure #monochrome #photographer

Love the use of stark contrast in Robert Eggers’

Love the use of stark contrast in Robert Eggers’ NOSFERATU. Not just between light and shadow, but also wide angle to extreme close up, warm tones to cool palettes, silence to loudness, slow tempo to fast. A good reminder of the power of juxtaposition.

#filmmaking #filmmaker #cinematography #cinematographer

Don’t worry about how you think it’s supposed

Don’t worry about how you think it’s supposed to look. There is no right way.

#filmmaking #filmmaker #cinematography #cinematographer

Lost a legend this week. Goodbye to one of the gre

Lost a legend this week. Goodbye to one of the greats.

#filmmaking #valkilmer

I love movies that mix different film formats. FIR

I love movies that mix different film formats. FIRST MAN is a great example - using 16mm, 35mm, and IMAX 65mm to achieve distinctly different looks for specific scenes. Each sequence has its own feel, but the analog qualities from real film stock are what tie it all together.

#filmmaking #filmmakers #cinematography #cinematographer

Currently obsessing over the extremely innovative

Currently obsessing over the extremely innovative use of color in PARIS, TX - one of the most visually influential films of all time. The vivid saturation, use of colored gels, and dynamic mix of natural and artificial light have influenced hundreds of films from MOONLIGHT to DRIVE, just to name a couple. I love the contrast of naturally lit scenes captured at magic hour / blue hour, juxtaposed against punchy neon tones that are specific to each character. 41 years later and the color theory & execution is still as impressive as ever.

#filmmaking #filmmaker #cinematography #cinematographer

It’s never going to be perfect… Pick an idea y

It’s never going to be perfect… Pick an idea you love and see it through no matter what.

#filmmaking #filmmaker #cinematography #cinematographer

Truly brilliant single take filmmaking on ADOLESCE

Truly brilliant single take filmmaking on ADOLESCENCE by DP Matthew Lewis and Director Philip Barantini. Most “single take” productions are actually captured with multiples takes that are stitched together in post. Cuts are hidden with swish pans and invisible wipes. Not in this case though - 10 takes were captured of each episode from front to back and the best take was selected in post for each. An amazing technical accomplishment that elevated rather than distracted from a great story.

#filmmaking #filmmaker #cinematography #cinematographer

Cc: @tedsarandos

I love films shot on VistaVision, and THE BRUTALIS

I love films shot on VistaVision, and THE BRUTALIST makes brilliant use of the format. By underexposing the film and push-processing a couple stops in the lab, the filmmakers achieved a textured, painterly feel to the visuals. Combined with some incredible framing, movement, and selective use of practical lights - it’s no surprise this film won best cinematography at the Oscars.

#filmmaking #filmmaker #cinematography #cinematographer

Just a reminder the Oscar winning animated feature

Just a reminder the Oscar winning animated feature FLOW was created using free software (Blender) and was financed as a result of director Gints Zilbalodis’ previous feature AWAY - which was made for $0 over 4 years in his bedroom.

Making a movie will never be easy, but not having the right tools is no longer an excuse.

#filmmaking #filmmaker #cinematography #cinematographer

It’s easy to assume there is some complicated fo

It’s easy to assume there is some complicated formula that you don’t yet have, but much harder to accept it’s just about having the discipline to do the basics over and over with consistency. Pick a project, work on it daily, don’t stop until it’s done. Then rinse and repeat.

Wow. Film beats digital at this year’s Oscar rac

Wow. Film beats digital at this year’s Oscar race for best cinematography. 3 of the 5 nominated movies were shot on analog film stock, while only 2 were digital. More evidence that the resurgence of film is not a fad, but here to stay.

Worth noting though: 7 out of 10 best picture nominees were shot digitally. Clearly film will never be the dominant format across the board. But it is not going anywhere, and this further cements its relevance in the ultra digital age.

#filmmaking #filmmaker #cinematography #cinematographer

Love the extremely innovative approach that DP Phe

Love the extremely innovative approach that DP Phedon Papamichael took with A COMPLETE UNKNOWN. To capture an authentic 1960s film look (while shooting digitally to maintain a minimalistic lighting setup), the camera was set to ISO 12,800 and stopped down to F8-11. Eventually, the digital footage was transferred to film and then re-scanned to get the best of both worlds. A vintage analog aesthetic with the benefits of a digital workflow.

#filmmaking #filmmaker #cinematography #cinematographer

Your choice in color palette can drastically impac

Your choice in color palette can drastically impact the tone of your film… The key is deciding on an aesthetic in pre-production, so you can actually achieve the desired effect. You may want a teal-and-orange blockbuster look, but if you don’t have the production design and wardrobe to match, you won’t be able to get there with color tools alone.

These are just a few examples of commonly applied looks. What’s your favorite type of palette to work with?

#filmmaking #filmmaker #cinematography #cinematographer #colorgrading

Load More... Follow on Instagram

(C) 2024 - Creative Rebellion, Inc. All Rights Reserved.