‘Thoroughbreds’ Created a Colorful Noir Using Natural Light and the Latest LED Technology
Cinematographer Lyle Vincent talks about how he used ARRI’s Sky Panels to create an unique neo-noir lighting scheme.
Cinematographer Lyle Vincent talks about how he used ARRI’s Sky Panels to create an unique neo-noir lighting scheme.
The 14-time Oscar nominee shares with ARRI his philosophy of cinematography
The Oscar-nominated cinematographer talks about her career path in a conversation with ARRI.
Morrison reunited with director Ryan Coogler (“Fruitvale Station”) to tackle the MCU as “The Godfather” meets James Bond.
Rachel Morrison earned an historic nomination for shooting “Mudbound,” but she’s hardly the first woman who deserved the honor.
In “Wonderstruck” the duo recreate the visual language of the gritty ’70s and the formalism of a black and white silent film.
From “Bottle Rocket” to “The Grand Budapest Hotel,” we have to thank Robert Yeoman for Wes Anderson’s one-of-a-kind vision.
PTA’s long-time gaffer and camera operator talk about the nine months of experimentation to find a look that went against everyone’s better cinematography instincts.
From “Mudbound” to “Dunkirk,” Roger Deakins to Michal Marczak, here are the 10 movies with the best cinematography of the year.
Gerwig, DP Sam Levy and colorist Alex Bickel reveal their unique process with these exclusive before-and-after images from the color correction process.
Cinematographer Dan Laustsen used deep-sea colors and a fluid camera for del Toro’s Oscar-contending, romantic fairy tale.
The Spanish auteur told IndieWire he is not thrilled with digital cinematography.