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NOAM KROLL

NOAM KROLL

NOAM KROLL

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THE BACKLOT
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LATEST BLOG POSTS

Why I Am Editing My Feature Film In FCP X

In October I go into production for my second feature which is set to be shot over 11…

New Raw Cameras, Which To Choose?

Earlier this year three potentially groundbreaking cameras were announced that have a few things in common: They shoot…

Lumix GH3: Pre-Release Thoughts

The Lumix GH2 is one of my favourite cameras in existence today. I use it for the majority…

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noamkroll

noamkroll

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

Don’t let gear, ego, or procrastination get in t

Don’t let gear, ego, or procrastination get in the way of making your art.

#filmmaking #filmmaker

Testing out the Petzval 80.5mm Mark II lens by @lo

Testing out the Petzval 80.5mm Mark II lens by @lomographyusa in Malibu. Love the distorted, soft edges - especially when shooting in monochrome on the Fuji X-T4.

Blog post coming soon…

#filmmaking #cinematography

Commercial projects now require more cuts and more

Commercial projects now require more cuts and more deliverables than ever before, which can be super difficult to manage. The latest iteration of Frame.io makes it so much easier - allowing you to filter between vertical and horizontal edits, PSD designs and video references, and in progress vs. approved cuts. All of which saves a ton of time and keeps clients happy…

Try out the new version today at www.frame.io

#adobepartner

My favorite color palette from any film has to be

My favorite color palette from any film has to be “La Piscine” (The Swimming Pool) by Jacques Deray. Proof that psychological thrillers can be vibrant and colorful, and don’t always have to look so bleak and desaturated.

#filmmaking #cinematography #colorgrading

Some recent thoughts on filmmaking… #filmmaking

Some recent thoughts on filmmaking…

#filmmaking #filmmaker

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

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