35 Results for steadicam
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Step Into the Ring: Kramer Morgenthau’s Cinematography for “Creed III”
Director and star Michael B. Jordan’s collaboration with DP Kramer Morgenthau on “Creed III,” aimed to reinvent how boxing scenes are shot.
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Blinding Lights: Creating Cinematic Beauty for The Weeknd’s Concert Special
The spectacular “The Weeknd: Live at SoFi Stadium” employed 25 Sony Venice cameras to capture live concert footage for the HBO Max special.
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“Kendrick Lamar Live in Paris” Brings Cinematic Production to a Streamed Event
Kendrick Lamar’s “The Big Steppers: Live from Paris” employed multiple digital cinema cameras to deliver a livestreamed outdoor broadcast.
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Never Mind the LEDs: Alternative Virtual Production Processes
From virtual visualization and virtual location scouting to greenscreen sets, there’s a lot more to virtual production than LED walls.
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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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Myths, Mists, Monsters: Director of Photography David Raedeker on “The Essex Serpent”
Cinematographer David Raedeker, BSC details production in the Essex marshes for Apple TV+ six-part romantic drama, “The Essex Serpent.”
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Entering “The Gilded Age”
Dubbed the “American Downton Abbey,” the new HBO series is set in a pivotal time in US history spanning 30 years of massive economic growth.
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The Long Take Can Be a Magical Thing
While there is no set formula for the “oner,” the use of long takes can be exhilarating but only when they support the narrative.
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What You Can Learn From the Visuals in “The Matrix Resurrections”
Cinematographers Daniele Massaccesi and John Toll on director Lana Wachowski’s evolution toward capturing in-camera lighting and effects.
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Sounding the Depths of BBC/Peacock Submarine Drama “Vigil”
Director of photography Matt Gray, BSC shoots the riveting BBC series in 4K HDR using a pair of ARRI Alexa LF cameras.
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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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Molto Bene: ”Venezia,” Shot With Sony’s VENICE 2
Cinematographer Rob Hardy, BSC, ASC, recently used the new Sony VENICE 2 digital cinema camera for something of a trial by fire.