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NOAM KROLL

NOAM KROLL

NOAM KROLL

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Directing & Producing

Sundance Submission – Shot On Blackmagic in RAW & Cut on FCP X

First off, I would like to thank FCP.co for kindly sharing this article on their site this week.…

How To Shoot A Film With A Skeleton Crew

Up and coming filmmakers often ask me how to effectively shoot a film with a Skeleton Crew. For…

Shooting Narrative With The Blackmagic Cinema Camera

This past weekend I Directed and DP’d a short film titled “Brother Sister”, which was shot on the…

The MoVI – Brilliant tool, but is it worth $15k?

When the MōVI M10 was announced this Spring, it sparked a massive amount of interest and conversation within the…

The Importance of Story

At this very moment, there are an almost inconceivable amount of technological breakthroughs that are changing the face…

Ups & Downs of Shooting a Feature With the GH2

Going into production on my second feature film “Splitting Bethany”, I had a tough time deciding which camera…

Splitting Bethany – Feature Film Shot on GH2

I am in the final stages of post production right now for my upcoming feature film – Splitting…

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noamkroll

noamkroll

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

50 years since Technicolor was last used on a feat

50 years since Technicolor was last used on a feature film (Godfather pt. II and Chinatown, both 1974).

The most iconic example is the Wizard of Oz, which best represents the depth and rich color tones that could only ever be achieved with this system.

The Technicolor camera shot 3 separate strips of black and white film, each with either a red, green, or blue filter. The film strips were then tinted cyan, yellow, and magenta and combined together to achieve the full spectrum of color.

As inefficient as it was, it’s still unmatched aesthetically by any modern film stock or digital format. Would love to see it make a comeback somehow!

#filmmaking #filmmaker #cinematography #cinematographer

If you’re a good editor you would probably make

If you’re a good editor you would probably make a great director too.

#filmmaking #filmmaker #postproduction

I’ve been experimenting a lot with S-Log3 color

I’ve been experimenting a lot with S-Log3 color science over the last year. It can be tricky to work with in post and struggles with color balance and skin tone issues. But it also has a ton of potential, and can yield amazing results - the color info is all there. It just takes a careful approach in the grade to bring out the best palette.

This shot was graded with a custom S-Log3 LUT I created / made available for download on www.cinecolor.io. It adds more color separation, skews tint toward magenta, and creates more dynamic contrast.

Thanks @josh.pafchek for the test footage 🙌🙌

#filmmaking #filmmaker #cinematography #cinematographer #colorgrading #slog3

Make your movie. No matter the scope or budget. Wh

Make your movie. No matter the scope or budget. Whatever the outcome, you are one step further ahead.

#filmmaking #filmmaker

Love the innovative use of the extreme wide angle

Love the innovative use of the extreme wide angle Panavision SF6 (6mm fisheye) lens on THE FAVOURITE.

Most filmmakers are afraid of distortion but director Yorgos Lanthimos and DP Robbie Ryan embrace the weirdness and use it to amazing effect.

Other shots in the film were captured on Panavision Primo lenses ranging from 10mm - 100mm. All shot on film (mostly Kodak 500T), using almost entirely with natural light.

#filmmaking #filmmaker #cinematography #cinematographer

More split diopter shots please. This is when a g

More split diopter shots please.

This is when a glass filter / lens attachment is used to keep the background and foreground both in focus at the same time.

First time I ever remember noticing one was the shot above from Carrie, which blew my mind.

What’s your favorite split diopter shot in cinema?

#filmmaking #filmmaker #cinematography #cinematographer

If there is any formula to filmmaking, it’s this

If there is any formula to filmmaking, it’s this.

#filmmaking #filmmaker

Film vs. digital. What do you prefer? This is the

Film vs. digital. What do you prefer?

This is the same shot on 8mm film, 35mm film, and digital. 35mm is my favorite overall, but the colors on that 8mm 50D stock are hard to beat.

#filmmaking #filmmaker #cinematography #cinematographer

Cc: @josh.pafchek

Random internet finds lately… The old Warner Bro

Random internet finds lately… The old Warner Bros. studio menu might be my favorite.

#filmmaking #filmmaker #creativity

Is there any such thing as the cinematic look? I b

Is there any such thing as the cinematic look? I believe there is, despite it being so hard to define.

#filmmaking #filmmaker #cinematography #cinematographer

Nothing compares to the look of an extreme telepho

Nothing compares to the look of an extreme telephoto lens used on a feature film. This type of depth compression is one of the most effective ways to ratchet up tension, entirely in camera.

I’ve been researching extreme long lens shots in cinema, and this has to be one of the best. It’s from 2011’s Tinker Tailor Soldier Spy, and was shot at 2000mm by Hoyte van Hoytema. I believe it was likely captured on the 2000mm Nikkor lens pictured above.

What are you favorite examples of extreme long lenses in feature films?

#filmmaking #filmmaker #cinematography #cinematographer

It’s not about shooting on the “best” camera

It’s not about shooting on the “best” camera. It’s about picking the right camera for the job. These are just a few examples of less conventional camera choices on some award winning features:

BLACK SWAN - Canon 7D (used in Subway scenes, mixed with Super 16mm film)

HARDCORE HENRY - GoPro

FRANCES HA - Canon 5D MK II

HIGH FLYING BIRD - iPhone

BLUE IS THE WARMEST COLOR - Canon C300

There are hundreds more. What would you add?

#filmmaking #filmmaker #cinematography #cinematographer

Moving ahead, I am going to start sharing raw foot

Moving ahead, I am going to start sharing raw footage with my cinematographers to get feedback at the beginning of my color grading process - not just at the tail end. The goal is to minimize back and forth and ensure the first pass is that much closer to final.

This new version of Frame.io makes it way easier to communicate complex visual notes and ideas. The annotation tools are especially helpful.

If you want to test it for yourself you can log into your Frame.io account now and experiment with the new beta!

#communityxadobe #adobepartner

Movies get made when the pain of procrastination o

Movies get made when the pain of procrastination outweighs the fear of failure.

#filmmaking #filmmaker

Some amazing examples of different film processing

Some amazing examples of different film processing methods on major feature films. Each of these movies used a unique combination of film stock and processing, resulting in wildly different visual results.

SAVING PRIVATE RYAN utilized one of the most aggressive silver retention processes of any film to date.

DJANGO UNCHAINED made great use of the cross processing method for the stylized flashbacks.

FIGHT CLUB (along with Fincher’s SEVEN) used a standard bleach bypass process to great effect.

THE WIZARD OF OZ, like many films of that era was produced using a 3 strip technicolor process, resulting in a perfectly saturated palette.

POOR THINGS most recently put to use the revitalized Ektachrome film stock and E-6 process to deliver its signature look.

What is your favorite film look?

#filmmaking #filmmaker #cinematography #cinematographer #colorgrading

The best use of “Day For Night” in cinema was

The best use of “Day For Night” in cinema was on Jordan Peele’s NOPE. It looks significantly more realistic than most other films that try to pull it off, largely because of a technique that DP Hoyte Van Hoytema brought over from his experience shooting AD ASTARA.

A 3D camera rig was modified so that both a 65mm film camera and a digital / infrared Arri Alexa could capture the exact same shot simultaneously. The Alexa’s image was inverted and used for the sky replacements, achieving a truer night sky look. The 65mm film footage was then composited on top, bringing in the natural color and texture.

This was a completely new and innovative approach to shooting day for night, and arguably the best use case ever.

What’s your favorite day for night shot?

#filmmaking #filmmaker #cinematography #cinematographer

Love seeing these gorgeous 1840’s antique Petzva

Love seeing these gorgeous 1840’s antique Petzval lenses put to use on modern films.

In most cases these lenses were rehoused for cinema use, or the newer Lomography editions were adapted instead. But it’s still nearly 200 year old technology, being put to use on some of the biggest feature films today. Pretty cool.

Pictured here: Everything Everywhere All At Once, The Northman, Blonde, and Poor Things.

#directing #director #cinematography #cinematographer #filmmaking

You don’t have to ask permission to make art.

You don’t have to ask permission to make art.

#filmmaking #filmmaker

Some super 8mm test footage with the new Kodak cam

Some super 8mm test footage with the new Kodak camera. Excited to shoot some 35mm Ektachrome next :)

#filmmaking #filmmaker #cinematographer #super8

Love the lens choices on Poor Things. Lots of clos

Love the lens choices on Poor Things. Lots of closeups were filmed on rehoused antique Petzval glass. The super wide shots with vignette used a 4mm s16 lens modified for 35mm. Great distortion with the wide angle 10mm Arri Ultra Prime… And gorgeous zoom work with the Arri / Zeiss 16.5 - 110 Master Prime.

Lots of other interesting lenses used too. Good reminder to mix and match whatever works for your film. All your lenses don’t have to be from the same kit.

#filmmaking #filmmaker #cinematography #cinematographer

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