104 Results for Lighting and Grip
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Understanding LED Stage Architecture
LED cinematographer Erik “Wolfie” Wolford presents a detailed demonstration of virtual production technology and techniques at ETC.
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Color, Psychology, and the Age of Image Permafrost
Research from Nice Shoes delves into the relationship between color and narrative, exploring its applications for storytelling.
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CineCentral’s Craft Clinics Bring Hands-On Training to NAB Show
NAB Show’s inaugural CineCentral is a Central Hall “base camp” for the creative community, featuring both paid and free craft clinics.
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How the Horror in “Nanny” is Surreal and Real
Nikyatu Jusu’s debut feature “Nanny” is a tale of displacement, following an undocumented immigrant’s quest to realize the American Dream.
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“Bad Travelling:” Blur and David Fincher Rewrite the Rules for Animation
Grotesque and dark visuals were just the start for director David Fincher’s first foray into animation for “Love Death & Robots: Volume 3.”
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“The Northman:” Vengeance Is Exhausting and Muddy
With “The Northman,” director Robert Eggers battles with himself to deliver the definitive Viking movie.
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When Truth Is Way Stranger Than Fiction: How “Landscapers” Escapes Into Fantasy
New HBO limited series shot by Erik Alexander Wilson, BSC is based on a true crime story originating from England in the 1990s.
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Amarcord: Paolo Sorrentino Remembers in “The Hand of God”
Cinematographer Daria D’Antonio employs the RED Monstro with ARRI Signature primes for director Paolo Sorrentino’s love letter to Naples.
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Savage Beauty: Jane Campion Understands “The Power of the Dog”
Cinematographer Ari Wegner employs the large-format ARRI Alexa Mini LF paired with vintage lenses for her collaboration with Jane Campion.
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“Eternals” and Director Chloé Zhao’s Independent Spirit
“Nomadland” director Chloé Zhao is just the latest indie filmmaker tapped to helm a new entry into the Marvel Cinematic Universe.
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How Black and White Brought Poetry to Rebecca Hall’s “Passing”
For her debut feature, director Rebecca Hall and DP Eduard Grau employ black-and-white, low-res photography with a focus on the characters.
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Because Black and White Is Also a Color
Cinematographers for “Belfast,” “Passing” and “The Tragedy of Macbeth” weigh in on the use of black and white as an aesthetic choice.