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NOAM KROLL

NOAM KROLL

NOAM KROLL

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THE BACKLOT
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Podcasts

PODCAST: Scheduling a 12 Day Micro-Budget Feature Film Production

One of the most challenging tasks for micro-budget filmmakers is creating a shooting schedule that serves both the creative…

PODCAST: The Key Fundamentals Of Directing Your Actors

It goes without saying that actors are the lifeblood of any film, and for this very reason it’s crucial that…

PODCAST: Moving From PA To Producer In No Time: An Interview With Filmmaker Jens Jacob

No two filmmakers have the same story, or have broken into the industry in the same way. Filmmaker…

PODCAST: Utilizing Vimeo To Grow As a Filmmaker & Build Your Audience With Derick Rhodes

Countless filmmakers have leveraged the power of Vimeo to showcase their work, refine their craft, and ultimately build an…

Podcast: The Process Of Making A Feature Film

In our latest podcast installment, co-host David Thies and I sat down to chat with Michael Schwarz, a filmmaker currently…

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noamkroll

Filmmaker & Creative in LA 🎥☀️🌴
New blogs, podcasts & newsletters each week +
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To the trained eye, it’s fairly easy to tell the

To the trained eye, it’s fairly easy to tell the difference between raw footage from different camera formats. But it becomes much harder when the shots have been color matched.

These 4 shots were captured on: Apple iPhone Log2, Alexa 35 Log-C, Blackmagic Gen5, and Sony S-Log3. Just not in that order…

If you can guess which camera goes with which number, I will DM you a $100 gift card to www.CINECOLOR.io to pick up the camera matching LUTs I made / used on these shots. Leave a comment below!

Also, huge thanks to @tvacom for helping to facilitate this highly controlled test shoot.

#filmmaking #filmmaker #cinematography #cinematographer

VistaVision was one of the most innovative film fo

VistaVision was one of the most innovative film formats when it emerged in 1954. It worked by running film horizontally through the gate instead of vertically, creating a bigger negative - about halfway between 35mm film and 70mm film. It was eventually replaced by anamorphic lenses and higher resolution film stocks, and remained obscure until 2024 when “The Brutalist” put it back on the big screen for the first time in 60 years. Now with Paul Thomas Anderson’s “One Battle After Another” also captured in VistaVision, I can only imagine we will see a big resurgence in years to come.

What’s your favorite movie shot in VistaVision?

#filmmaking #filmmaker #cinematographer #cinematography

If you didn’t catch it on YouTube, here is the f

If you didn’t catch it on YouTube, here is the full short film on IG! Be sure to share if you enjoy 🎥

OVATION is one actor’s journey through a film festival’s endless standing ovation.

Directed by @noamkroll | Writen & performed by @iamlukebarnett

Camera by @andychinn

Featuring:

@thepriteshshah @lafemmecarolina @daniel__olson @blackbirdranch @jackie__moore @filmmaking  
#filmmaking #filmmaker #cinematography #cinematographer

Recorded live at the Cannes Film Festival… Three

Recorded live at the Cannes Film Festival… Three years from now.

An actor’s journey through a film festival’s endless standing ovation.

#filmmaking #filmmaker #cinematography #cinematographer #shortfilm

Recorded live at the Cannes Film Festival… Three

Recorded live at the Cannes Film Festival… Three years from now.

An actor’s journey through a film festival’s endless standing ovation.

#filmmaking #filmmaker #cinematography #cinematographer #shortfilm

What a crazy experience. Got a call a couple weeks

What a crazy experience. Got a call a couple weeks ago from @iamlukebarnett with a hilarious concept for a short film. We decided to make it on a whim just days later. Shot it in 2 hours with no real crew or budget. I cut it the next day and before we knew it Variety picked it up for an exclusive.

It’s always those last minute, spontaneous projects that seem to take off like this. A good reminder to always make stuff with no agenda or expectation!

Watch the full short on my YouTube channel - link in bio! More on this and some BTS to come soon.

Directed by @noamkroll | Writen & performed by @iamlukebarnett

Camera by @andychinn

Featuring:

@thepriteshshah @lafemmecarolina @daniel__olson @blackbirdranch @jackie__moore @thetommymiller  Special thanks to @feyblhouse

#filmmaking #filmmaker #cinematography #cinematographer

Aspect ratio choice is one the most important deci

Aspect ratio choice is one the most important decisions on any film project. The same shot will carry an entirely different emotional feel if framed in 1.33 (nearly square) vs 2.76 (widescreen). For years, nearly every movie was shot in 1.85 or 2.39, but lately aspect ratios have become less standardized, leaving more room for experimentation. Instagram even allows 4.7:1 now which is crazy wide.

What’s your favorite aspect to frame in?

#filmmaking #filmmaker #cinematography #cinematographer

It takes just as much effort (or more) to shoot wi

It takes just as much effort (or more) to shoot with Natural light as it does with artificial sources. At least if you want it to look its best. There is perhaps no better example than THE TREE OF LIFE, which was shot almost entirely with natural sunlight and has some of the best cinematography in recent memory. To pull this off for interior scenes, the filmmakers made dramatic adjustments to real homes - including cutting new windows and skylights - to capture the exact angle of the sun needed for their scenes.

#filmmaking #filmmaker #cinematography #cinematographer

Imagine trying to make F1 without the benefit of d

Imagine trying to make F1 without the benefit of digital cameras. That’s exactly what John Frankenheimer and DP Lionel Lindon pulled off way back in 1966 with GRAND PRIX. They strapped custom modified 35mm cameras to race cars, capturing some of most challenging and innovative POV shots for that time - defining the genre for decades to come.

#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

This is guerilla filmmaking at its finest. Some of

This is guerilla filmmaking at its finest. Some of the most high production value shots in 28 DAYS LATER were captured with no permits and a skeleton crew, in shooting blocks of just 45 minutes before the city woke up.

Shout out to @real.emirhan__ for recently posting about this on X.

#filmmaking #filmmaker #cinematography #cinematographer

10 directors and their favorite films. Interesting

10 directors and their favorite films. Interesting to see the common picks, notably VERTIGO, 2001, and CITIZEN KANE.

#filmmaking #filmmaker #cinematography #cinematographer

Most people are shocked to learn that this sequenc

Most people are shocked to learn that this sequence was shot fully in color, even though the opening appears to be black and white (or sepia). To achieve the effect, Dorothy’s house and clothes were painted beige, and a body double was used for Judy Garland. This allowed for one seamless and continuous shot from “black and white” to color. And it still holds up beautifully almost a century later.

#filmmaking #filmmaker #cinematography #cinematographer

4 different films with (almost) the same palette.

4 different films with (almost) the same palette. There is a reason the teal and orange “blockbuster” look is still alive and well. Love it or hate it, it plays into one of the most important aspects of color psychology - color contrast. Our eyes are drawn to complimentary colors that are on opposite ends of the color spectrum.

In film though, not all color combinations have an equal effect. Take the example above - it works because the skin tones skew warm (which is flattering to the eye), and the shadows skew cold (which adds moodiness). If it were reversed, warm shadows would look muddy and unpleasant, and cool skin tones would look lifeless. Sometimes that’s the look you want, and there is no right and wrong. But as a rule of thumb: Warmer tones in the mid-high range tend to look best when contrasted against cooler shadows - whether you are going for a blockbuster look or not. Just remember to capture the look on set and not attempt to achieve it entirely in the grade.

#filmmaking #filmmaker #cinematography #cinematographer #colorgrading

Imagine the feeling of accidentally deleting the e

Imagine the feeling of accidentally deleting the entirety of TOY STORY 2 in the middle of production. That’s what happened in 1998 when someone mistakenly wiped Pixar’s file system, deleting what they thought was the only surviving copy of Toy Story 2. Thankfully, Pixar’s technical director Galyn Susman was working from home with her newborn baby, and had a full copy of the film that was unaffected. Ironically, even after saving the film, the studio decided to scrap it and re-created nearly the entire movie from scratch to make additional changes.

#filmmaking #filmmaker #cinematography #cinematographer

Martin Scorsese and DP Robert Richardson were so f

Martin Scorsese and DP Robert Richardson were so far ahead of their time on The Aviator. This film accurately captures three distinct film looks:

1. Technicolor two-strip
2. Technicolor three-strip
3. Classic color film stock

The finished product takes the viewer on a journey through the history of color cinematography, all while serving the story beautifully.

#filmmaking #filmmaker #cinematography #cinematographer

Even the biggest Hollywood productions sometimes h

Even the biggest Hollywood productions sometimes have to resort to DIY tactics to get the shot. This is how David Fincher captured a crucial establishing shot of Harvard University without permission, using a three headed camera rig and some innovative lighting and post.

Steven Spielberg credits LAWRENCE OF ARABIA (1962)

Steven Spielberg credits LAWRENCE OF ARABIA (1962) as the single film that inspired him to become a filmmaker. And accordingly to him this sequence is among the best to ever be committed to film.

#filmmaking #filmmaker #cinematography #cinematographer

Steven Spielberg credits LAWRENCE OF ARABIA (1962)

Steven Spielberg credits LAWRENCE OF ARABIA (1962) as the single film that inspired him to become a filmmaker. And accordingly to him this sequence is among the best to ever be committed to film.

#filmmaking #filmmaker #cinematography #cinematographer

If you’ve ever wondered what PSYCHO would look l

If you’ve ever wondered what PSYCHO would look like in color, here are a few shots that I colorized for fun. You can see why Hitchcock opted for monochrome, but still an interesting experiment!

#filmmaking #filmmaker #cinematography #cinematography

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