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NOAM KROLL

NOAM KROLL

NOAM KROLL

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Podcast

Show Don’t Tell: A Podcast On Micro-Budget Filmmaking

Over the last year I’ve become a huge fan of podcasts and have learned so much by listening to…

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noamkroll

noamkroll

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

David Lynch was truly one of the greatest, most or

David Lynch was truly one of the greatest, most original, and most influential directors to ever live. There’s not a single filmmaker I know that doesn’t reference his work and aspire to his gifts as a visionary. A true artist - I have no doubt that his films will continue to inspire filmmakers for generations to come, and serve as never ending proof that the best art is personal, universal, and unapologetically weird all at once.

#filmmaking #filmmaker #cinematography #cinematographer #davidlynch

Don’t hesitate to reach out if you’re an LA fi

Some of my favorite shots from ANORA (and their le

Some of my favorite shots from ANORA (and their lenses), directed by Sean Baker / DP’d by Drew Daniels.

The film was shot on 35mm using a mix of vintage & modern anamorphic glass - which helped capture the opulence of the environment and create a music video-like aesthetic:

Lomo Round Front 35mm T2.5
Lomo Round Front 75mm T2.4
Atlas Orion Anamorphic 25mm T2
Angenieux Optimo 24-290mm T2.8

#filmmaking #filmmaker #cinematography #cinematographer

The first $75 million dollar movie shot on an iPho

The first $75 million dollar movie shot on an iPhone 15 Pro Max. Amazing to see what Danny Boyle and DP Anthony Dod Mantle have been able to pull off visually. Of course it was rigged with proper cinema lenses and tons of other peripheral gear, but I am still just as impressed with how far they pushed that tiny little phone sensor. And it makes sense for this film, as the original 28 days later was shot on the prosumer Canon XL-1. The iPhone gives a similar gritty feel, but feels more clean and appropriate for present day.

#filmmaking #filmmaker #cinematography #cinematographer

Just a few of the thousands of films inspired by b

Just a few of the thousands of films inspired by brilliant paintings…

SLIDE 1
Painting: The Kiss by Gustav Klimt (1907-1908)
Movie: Shutter Island by Martin Scorsese (2010)

SLIDE 2
Painting: The Empire of Lights by René Magritte (1950-1954)
Movie: The Exorcist by William Friedkin (1973)

SLIDE 3
Painting: The Birth of Venus by Sandro Botticelli (c. 1484-1486)
Movie: The Adventures of Baron Munchausen by Terry Gilliam (1988)

SLIDE 4
Painting: The Blue Boy by Thomas Gainsborough (c. 1770)
Movie: Django Unchained by Quentin Tarantino (2012)

SLIDE 5
Painting: Nighthawks by Edward Hopper (1942)
Movie: Pennies from Heaven by Herbert Ross (1981)

SLIDE 6
Painting: The Scream by Edvard Munch (1893)
Movie: Scream by Wes Craven (1996)

SLIDE 7
Painting: Saturn Devouring His Son by Francisco Goya (1819-1823)
Movie: Pan’s Labyrinth by Guillermo del Toro (2006)

SLIDE 8
Painting: Pollice Verso by Jean-Léon Gérôme (1872)
Movie: Gladiator by Ridley Scott (2000)

SLIDE 9
Painting: Wheatfield with Crows by Vincent van Gogh (1890)
Movie: Dreams by Akira Kurosawa (1990)

#filmmaking #filmmaker #cinematography #cinematographer

Making stuff > talking about making stuff. #filmm

Making stuff > talking about making stuff.

#filmmaking #filmmaker

Everyone has an opinion on Wicked’s color palett

Everyone has an opinion on Wicked’s color palette, which lost the essence of the original Wizard Of Oz and its brilliant use of the technicolor format.

For fun, I applied a 3 strip process in DaVinci Resolve to digitally recreate the original technicolor look. The analog technicolor process was achieved by exposing 3 separate black and white film stocks using a prism to split off the red, green, and blue tones. These strips were later dyed and recombined to deliver a full color look, which was cleaner and more saturated than actual color film stocks that emerged later.

But as you can see in this example, it was never just about the color science. The original Wizard Of Oz made brilliant choices in production design to maximize the effect. This included painting the interior of Dorothy’s home in sepia, so when she landed in Oz and opened the door to Oz it would appear in full color, and could all be captured in a single shot. And of course the set and wardrobe design within Oz which maximized the format.

There is only so much that can be done in post to compensate for colors that were never there to begin with. Wicked has its own look, and clearly wasn’t going for the nostalgic 3 strip effect. But Wizard of Oz (more than any film in history) is known for its use of color, which is why many were disappointed with the palette.

#filmmaking #filmmaker #cinematography #cinematographer #colorgrading

Some iconic movies and their aspect ratios. Choosi

Some iconic movies and their aspect ratios. Choosing your format is as important (or more) as lens selection, camera, or any other visual component, as it has a massive effect on the viewing experience.

#filmmaking #filmmaker #cinematography #cinematographer

Choosing an aspect ratio is one of the most import

Choosing an aspect ratio is one of the most important (but often overlooked) parts of building a visual palette for your film. The same movie feels completely different in 1.33 vs 2.39. Here’s a little cheat sheet you can reference before your next production.

What’s your favorite aspect ratio?

#filmmaking #filmmaker #cinematography #cinematographer

If you understand editing you understand filmmakin

If you understand editing you understand filmmaking. It’s the only stage of the process where every element fully converges to make it crystal clear what worked, what didn’t, and what could have been done better.

#filmmaking #filmmaker #cinematography #postproduction

I shot a feature film entirely on the Fuji X-T4 wi

I shot a feature film entirely on the Fuji X-T4 with a single Leica R 50mm lens. Amazing what you can do these days with so little gear.

Keeping it small let us shoot the project across an entire year, writing the script as we went along, and filming wherever we wanted.

It was a total experiment from the get-go, and continues to be - including the release which is initially exclusive to YouTube. My other films hit over 5 million views on YT with almost no promotion, and the wider reach has now led to bigger, more traditionally produced movies.

Can’t recommend the micro-budget / YouTube strategy enough, especially for those willing to take a risk on something new.

#filmmaking #filmmaker #cinematography #cinematographer #fujixt4

I haven’t been that excited about many of the re

I haven’t been that excited about many of the recent camera announcements over the last year or two. But I just saw the new Fuji GFX ETERNA (Fuji’s first ever true cinema camera), and can not wait to test it out. I’ve shot on Fuji for a long time, including using the X-T4 on an entire feature film.

But having that Fuji color science in a proper cinema body (with a large format sensor) will take things to the next level. Happy to see this was finally made a reality!

#filmmaking #filmmaker #cinematography #cinematographer @fujifilmx_us

Love the analog filmic aesthetic that Ti West and

Love the analog filmic aesthetic that Ti West and DP Eliot Rockett have been able to achieve with the X trilogy. On MaXXXine, they captured a realistic film look by shooting at ISO 3200, stacking NDs, shooting wide open anamorphic, and adding film grain and halation in post. They also created several custom show LUTs for different lighting conditions to optimize their color pipeline.

With digital sensors getting cleaner and more “perfect” each year, it is more crucial than ever to take these kind of extra steps to ensure your image still has some character.

#filmmaking #filmmaker #cinematography #cinematographer #maxxxine

Unique lens choices go such a long way in helping

Unique lens choices go such a long way in helping you create a more distinct visual palette. On THE LIGHTHOUSE cinematographer Jaron Blaschke used vintage Baltar lenses (from the 1930s & 1940s) to deliver a more accurate and time specific look. Other vintage glass was used as well, but only for select shots. Almost everything was shot on a variation of the lenses pictured above (although I’m sure rehoused for cinema use).

#filmmaking #filmmaker #cinematography #cinematographer

I was lucky enough to get a sneak preview of @losf

I was lucky enough to get a sneak preview of @losfrikis.movie last night - directed by Michael Schwartz and @tylernilson, and hosted by the legendary Chris Columbus. Truly blown away by this film on every level. A story we’ve never seen, brilliant performances from first time actors, gorgeous camera work, and an incredible score that fuses perfectly with the punk rock subject matter. If you liked their film Peanut Butter Falcon, you will love this one too.

It will hit theaters in December. Run, don’t walk to see it!

Cc: @tvacom @theryanvan

#filmmaking #filmmaker #cinematography #cinematographer #losfrikismovie

Always better to create than wait. #filmmaking #

Always better to create than wait.

#filmmaking #filmmaker

Hands down the best day for night effect ever achi

Hands down the best day for night effect ever achieved can be found in Jordan Peele’s NOPE, shot by Hoyte van Hoytema. The custom camera rig included a Panavision film camera and digital infrared Arri Alexa which shot identical frames. The infrared footage was used in post to replace the sky and fine tune other bright areas of the frame. A technique pioneered on Ad Astara, but taken to the next level on NOPE.

#filmmaking #filmmaker #cinematography #cinematographer

This is one of the craziest lenses I’ve shot wit

This is one of the craziest lenses I’ve shot with. Laowa 24mm probe - which is a macro lens that has a waterproof barrel and ring light at the end. It only opens up to f14, so you need a ton of light. But the shots it can deliver are insane!

I’m going to share a blog article on this lens, and some other more experimental glass I’ve been using very soon.

Thanks to @tvacom for hooking up the gear.

#filmmaking #filmmaker #cinematography #cinematographer

📷 : @jpafchek

What a genius poster concept for one the best film

What a genius poster concept for one the best films of the year. Directed by the incredible @coralie_fargeat. Go see it in theaters if you haven’t already…

#filmmaking #filmmaker #cinematography #cinematographer

Don’t put too much pressure on any one film. Bui

Don’t put too much pressure on any one film. Building your body of work is all that really matters, but you can’t get there by talking yourself out of it.

#filmmaking #filmmaker

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