Oscar Cinematography Survey: Here’s the Cameras and Lenses Used To Shoot 35 Awards Contenders
The world’s best cinematographers explain how they created the visual language of “Roma,” “A Star Is Born,” “Black Panther,” “Vice,” and more.
Top of the Line
‘The Ballad of Buster Scruggs’: Pushing the Limits of Western Authenticity in Coen Brothers’ First Netflix Movie
Death becomes the Coens’ new Western anthology, and the production and costume design help bring period life to the old frontier.
‘The Front Runner’: Here’s How to Mic 20 Actors and Mix Their Sound at the Same Time
Exclusive clips: Jason Reitman wanted a mix that sounded like films from the ’70s. Here’s how his sound team pulled it off.
‘Boy Erased’: A Subtle, Inside Out Score for a Journey about Sexual Identity
Composers Danny Bensi and Saunder Jurriaans toned down their usual darkness in scoring Joel Edgerton’s sensitive drama about gay conversion therapy.
‘Bohemian Rhapsody’: The Challenge of Shooting the Live Aid Re-Creation to Do Freddie Mercury Justice
Recreating Queen’s legendary Live Aid concert was the highlight for cinematographer Newton Thomas Sigel, and will be featured in its entirety on the Blu-ray/DVD.
‘The Ballad of Buster Scruggs’: Why The Coen Brothers Finally Embraced Digital for Their First Netflix Movie
Shooting digital with cinematographer Bruno Delbonnel came from necessity, but paid dividends, letting actors go and pushing colors in post.
‘First Man’: How Damien Chazelle Used Handheld 16mm Cameras to Cut Through the Neal Armstrong Myth
Chazelle and cinematographer Linus Sandgren found a way to tell a personal story of “the moon and the kitchen sink” by assuming the role of cinema verite documentary filmmakers.
‘Can You Ever Forgive Me?’: How They Recreated an Analog Pre-Amazon Literary World for Melissa McCarthy’s Forger
Production designer Stephen Carter brought to life the quaint bookstore culture of New York inhabited by McCarthy’s notorious Lee Israel in 1991.
At 3,000 Feet, Shooting ‘Free Solo’ Was More Like ‘Mission: Impossible’ Than a Documentary
An inside look at how the crew behind the heart-stopping documentary shot the incredible footage of Alex Honnold’s death-defying climb.
Beyond Christopher Nolan: ‘First Man’ Redefines In-Camera VFX
Damien Chazelle’s space epic benefited from 90 minutes of rendered footage on a spherical LED screen while shooting in-camera with full-scale practical crafts.
‘Venom’: Going to VFX Extremes to Animate Tom Hardy’s Unexpected Superhero
DNEG prepared for the final battle between Venom and Riot by tapping their inner symbiote, and the result was sheer “Looney Tunes.”
‘First Man’: Shooting the Moon in IMAX to Heighten Neil Armstrong’s Death-Defying Journey
Damien Chazelle and cinematographer Linus Sandgren experimented with IMAX for Neil Armstrong’s historic moon landing as surreal poetry.
