From Tom Stern's bloodless, monochromatic palette on Clint Eastwood's "J. Edgar" to Janusz Kaminski's vibrant, painterly images in Steven Spielberg's "War Horse," filmmakers took radically different…
At first, cinematographer Anthony Dod Mantle jokes about the challenge of shooting much of Danny Boyle's "127 Hours" in an ultra confined space.
Designers on historical dramas live with an ever-present danger: sharp-eyed viewers ready to pounce on any anachronisms -- real or imagined.
"Inglourious Basterds" editor Sally Menke has a hard time explaining the "rhythm" she's developed with Quentin Tarantino. "It's just there," she states simply.
Twenty years after its debut, Photoshop is an indispensable tool for digital photography, publishing and even movie vfx. But few in the biz realize its origins go back to the day a young…
Although "The Curious Case of Benjamin Button" represents Claudio Miranda's first gig as d.p. on a David Fincher-directed feature, Miranda had a great deal of experience inside Fincher's digital…
Like "Flags of Our Fathers" and "Letters From Iwo Jima" two years back, Tom Stern shot two Oscar-contending features for Clint Eastwood a few months apart using the same basic production methodology…
"Since we built a set out of a real airplane on a gimbal, throwing people around as it moved, and had actors essentially role-playing the whole thing to illustrate how people must have reacted in…
"Marty gave me a couple movies to look at from the late 1940s, particularly 'T-Men' (1947) and 'Raw Deal' (1948), both shot by (film noir cinematographer) John Alton. They were a nice guideline for…
"It's a period piece, so we wanted to keep lighting natural and true to the period," Pfister explains. "At the same time, we wanted to have a realistic and modern approach to the style of filmmaking…