I make a point of making sure I’ve seen all the Oscar nominees for Best Cinematography. That this year’s films were well-photographed goes without saying, but one film, The King’s Speech, stood in a category all its own. While the other DPs were shooting the best films possible according to accepted standards of motion picture […]Read More The Oscars, et al.
I’ve got a few short film shoots coming up that I’m very excited about. One is a 15-minute narrative piece, shot on 16mm black-and-white film, directed by Art Center student Peter Yu. Peter’s script, a story of betrayal and retribution involving a high-school teacher, her student, and his adulterous father, is heavily influenced by Woody […]Read More Onward and Upward
There is something so deeply enchanting about silent light. It is meditative yet outward-looking, small yet vast, lonely yet content. It is elusive, and is often so nuanced, so delicate, that one is afraid the camera itself might cause its immediate decay. One finds it often in Soviet cinema after 1960 and in photography from […]Read More Quiet light
I recently spent a week working in the lighting department on the sitcom Mike and Molly, which shoots on the Warner Brothers lot. Mike and Molly is shot the way traditional three-camera sitcoms have all been shot since time eternal: live audience, proscenium-style sets, and lighting that supports simultaneous camera coverage. Photographically, I don’t find […]Read More Shooting the sitcom: some things never change