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NOAM KROLL

NOAM KROLL

NOAM KROLL

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Writing

The Importance of Story

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

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noamkroll

noamkroll

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

Some of the most powerful (and polarizing) lens ch

Some of the most powerful (and polarizing) lens choices in recent cinema are found in POOR THINGS. From the porthole effect (created by mounting a 16mm lens on a 35mm camera) to the use of rehoused antique Petzval lenses for swirly closeups - the creative experimentation resulted in some of the most memorable images we’ve seen in a long time.

Yorgos Lanthimos and DP Robbie Ryan did not use a standard shot list, and instead created their own rule book - which ensured every scene was shot using one lens from each type (wide angle, portrait, zoom). The finished work offers an eclectic palette like none other.

Lenses used include: Optex 4mm S16, 8mm Oppenheimer Nikkor, 58mm / 85mm Lomography Petzvals (rehoused), Arri / Zeiss 16.5 - 110mm Master Zoom.

#filmmaking #filmmaker #cinematography #cinematographer #poorthings

🤯 Just learned the vfx work in the iconic sunse

🤯 Just learned the vfx work in the iconic sunset scene in THE BATMAN was partially influenced by the rooftop scene in THE ROOM. You never know where inspiration will strike…

Thanks to @miguelsantana_ for sharing this!

#filmmaking #filmmaker #cinematography #cinematographer #vfx

The “Lens Plot” used on 12 Angry Men, with a b

The “Lens Plot” used on 12 Angry Men, with a brief creative explanation by cinematographer Boris Kaufman. Each act was captured using increasingly tighter lenses and lower angles to increase the sense of claustrophobia, and make the walls close in on the characters.

Sometimes the most effective visuals are achieved through very simple (but purposeful) choices.

#filmmaking #filmmaker #cinematography #cinematographer

You’re already the most qualified person to make

You’re already the most qualified person to make your art. Don’t let imposter syndrome stop you.

#filmmaking #filmmaker #artist

You don’t need a big camera to make a big movie.

You don’t need a big camera to make a big movie. Some major feature films captured on prosumer gear:

UNSANE (iPhone 7 Plus)
LIKE CRAZY (Canon 7D)
THE CREATOR (Sony FX3)
28 DAYS LATER (Canon XL1)
ACT OF VALOR (Canon 5D MKII)
BLUE RUIN (Canon C300)

#filmmaking #filmmaker #cinematography #cinematographer

Always a treat to catch up with the one and only @

Always a treat to catch up with the one and only @jimmycthatsme - Here’s a little sneak peek from today’s interview. Full podcast will go up later in the week! So many great takeaways I am excited to share with you all.

Thanks to @josh.pafchek for shooting it too!

#filmmaking #filmmaker

Love seeing old distorted lenses like the Helios 4

Love seeing old distorted lenses like the Helios 44-2 (which you can find for $60), used on $200MM blockbusters like THE BATMAN.

This lens, along with the Jupiter 9 were modified for cinema by IronGlass, and used in the Penguin chase sequence.

Brilliant choice by DP Greig Fraser to embrace the weirdness of these flawed Soviet lenses, and achieve a vintage 70’s analog aesthetic in the process.

#filmmaking #filmmaker #cinematography #cinematographer

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

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