Written by StudentFilmmakers Magazine
By Bruce Logan, ASC So you got the job – the Director loves you, and the Producer can tolerate you. Nice! Now what? You have to choose a camera. If you own the right one, then the answer is obvious. And maybe that’s why the producers can tolerate you. But if not… how do you… …
Written by StudentFilmmakers Magazine
Exclusive Interview with Patrick Cady, ASC: Camerawork, Lighting, and Transitioning from DP to Director StudentFilmmakers Magazine: Can you talk about your experience as a cinematographer who has occasionally transitioned to the director’s chair? Patrick Cady, ASC: I’ve been a cinematographer for 20 years now. I was an electrician and Gaffer, and before that I… …
Written by StudentFilmmakers Magazine
M. David Mullen, ASC receives another nomination! This year Mr. Mullen won the Emmy Award for Outstanding Cinematography for a Single-Camera Series (One Hour), The Marvelous Mrs. Maisel, “Simone”. Congratulations to his new nomination under the “Episode of a Series for Non-Commercial Television” category for The Marvelous Mrs. Maisel, “Simone” (Amazon) for the 34th Annual… …
Written by StudentFilmmakers Magazine
There are a lot of great new books on cinematography on my shelf now, and every one of them teaches me something each time I sit down to read a few chapters. I find myself examining each lighting set-up and trying to determine what components make up the myriad of camera rigs that have hit… …
Written by StudentFilmmakers Magazine
Stressed out shooting live events? It doesn’t have to be this way (most of the time). I’ve spent many a night before a wedding shoot losing sleep over potential problems that might or might not happen. There are plenty of horror stories out there such as: camera not in record, batteries suddenly low, arriving late,… …
Written by StudentFilmmakers Magazine
When composer Andrew Edwards approached me in the spring to direct and shoot a music video for a track off his upcoming album, “The Center of the Sky” – an orchestral concept album inspired by the difficult time spent in southern Illinois during his mother’s final battle with Stage IV cancer – I was incredibly… …
Written by StudentFilmmakers Magazine
I received an e-mail query from a University of Colorado cinema student approaching his first interior shoot with 16mm Kodak Vision 500T raw stock. His central question was how to expose the film using studio lighting, in this case a kit limited to three open faced quartz lights. Although he had prior experience as a… …
Written by StudentFilmmakers Magazine
Over the years I’ve answered many questions from students regarding lighting. One thing I want to emphasize is that what matters most is developing a visual imagination so that one can “see” the lighting in one’s mind. I don’t think one should tell someone how to light something, just as I wouldn’t tell a painter… …
Written by StudentFilmmakers Magazine
Emerging filmmakers looking to crew-up, discover the basic elements of camera composition and lighting design through ARRI Creative Tools? Our NEW 2-day Block, Light & Shoot workshop is for you. Register for November Brooklyn BLS class, Nov. 9-10, here: http://arri.academy/Block-Light-Shoot-Brooklyn Register for December Burbank BLS class, Dec. 7-8, here: https://arri.academy/Block-Light_Shoot_Burbank-Dec Experienced Cinematographers, Operators, ACs, DITs… …
Written by StudentFilmmakers Magazine
Block, Light, Shoot Workshop ARRI Academy | BLOCK LIGHT SHOOT from Hype Alliance on Vimeo. This 2-day class will explore the art of cinematography through intensive practical group experience while emphasizing creativity and collaboration. Students will learn how to build the lighting design and camera set up in a professional environment. This unique opportunity sharpens… …
Written by StudentFilmmakers Magazine
Notes on Camera Movement When to Move the Camera and Why by M. David Mullen, ASC Motivation is not just something actors need – it’s something cinematographers and other cinema artists deal with every day when making a movie. This not only applies to how a set is lit, but also to elements like… …
Written by StudentFilmmakers Magazine
As most people know, the stylistic trend in cinematography over the century has been towards greater realism, which has been easier to achieve in low-light situations thanks to more sensitive film stocks and electronic sensors, plus faster lenses. There has always been an impulse to make the lighting in a movie logically motivated, even in… …
