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“Only Murders in the Building” editor Shelly Westerman will join Bobbie O’Steen at NAB Show New York’s Insight Theater Oct. 25 at 3 p.m.

Director Unjoo Moon partnered with cinematographer Dion Beebe, ACS ASC to test the capabilities of the new Sony BURANO camera.

Editor Tessa Verfuss on the making of Netflix’s $144 million live-action adaptation of bestselling manga pirate adventure “One Piece.”

Interested in exploring Hudson Yards with a camera, lighting, a model, and a guide? Sign up for the Fujifilm Photowalks at NAB Show New York.

Director Gareth Edwards considers the debates around AI, reflected in his film “The Creator:” “Should we embrace it or should we destroy it?”

The HBO Camera Assessment Series is a feature-length movie that employs staged scenes to demonstrate the strengths—and weaknesses—of cameras.

With so much to do at NAB Show New York, it can be overwhelming to make your plan, so the NAB Amplify team is sharing our can’t-miss list.

‟The Rings of Power” production team wanted to accurately re-create natural phenomena for the series, including the implosion of Mount Doom.

The PPC NYC programming is produced in partnership with FMC and comprises 24 sessions designed for production and post pros.

“The Woman in the Wall” centers on a woman grappling with the trauma of time in a Magdalene laundry, complicated by the deaths of two people connected to her incarceration there.

DP Paul Daley breaks down his visual approach to Season 3 of “The Righteous Gemstones,” HBO’s dark comedy series created by Danny McBride.

Netflix’s “Painkiller” is not the first show to delve into the opioid crisis; it is likely not the last. Berg’s take relies on a strong cast and nimble crew.

NAB Show New York attendees are encouraged to “explore the synergies between live broadcast and cinema” through Cine+Live Lab.

Sports cinematographer Domenick Satterberg charts the history of NFL Films and reveals the camera techniques he uses to capture the action.

“Telling your own story, that’s the best part,” content creator Juliana Broste says. “You are in control of what elements are included, what elements are not, and how you want them to feel.”

Cinematographer/photographer Philip Grossman on how to reach, explore and capture imagery at some of the world’s most “impossible” places.

Live concert director Paul Dugdale explains his approach to capturing live performances, including how he captures a performer’s energy.

The transition from still photographer to cinematographer should be simple, right? That’s what Jeff Berlin thought.

Internationally recognized photographer Scott Robert Lim reveals the techniques and tools for using 4K and 8K video to capture key moments.

Douglas Spotted Eagle shares his expertise on what equipment has proven the most useful for remote and on-the-go productions.

A very complex color pipeline has evolved in production and post, with many formats and deliverables along the way.

Directed by Jason Reitman, Sony’s new “Ghostbusters” short film is a proof-of-concept for real-time production and visual effects.

Director Steven Soderbergh discusses the production of and technologies used for Max’s limited series, “Full Circle.”

If you think you know what you’re in for when you start to watch HBO’s docuseries “Telemarketers,” odds are you’ll only be half right. Maybe. 

“Oppenheimer” editor Jennifer Lame, ACE speaks with “The Rough Cut” host Matt Feury about working with writer-director Christopher Nolan.

If FX’s The Bear reminds you of a Martin Scorsese film, you won’t be surprised editor Joanna Naugle is a devotee and used his movies as references for the show.

The editing team on “Barbie” and writer-director Greta Gerwig talk about their process for combining humor, emotion and anarchy.

Much of the Nicolas Cage movie “Sympathy for the Devil” takes place inside a car, using scenes captured at the Vū virtual studio.

To create what he considers a true cinematic experience, Christopher Nolan shot “Oppenheimer” in 65mm, 15-perf IMAX format. 

DP Robert Yeoman faced harsh sunlight, windy exteriors, and the idiosyncratic vision of the director for Wes Anderson’s “Asteroid City”

Cinematographer Patrick Capone, ASC, director Mark Mylod and senior colorist Sam Daley consider what made the series look and feel like that.

Frame rates have become a hotly contested issue, challenging the nearly century-old standard of 24fps for films or up to 60fps for TV.

Aidin Robbins and Eric Matt shot a documentary in the Alps and across glaciers. Learn how they managed both mountaineering and filmmaking.

“The tools are literally telling you as a creator, ‘You now have more power in your hand, go do something with it.’”

Mobile production makes you a better filmmaker. Rubidium Wu explains how.