Named president of DreamWorks Animation in January, Margie Cohn runs the studio’s film and television divisions, overseeing the release of two feature films each year via parent company NBCUniversal and the roughly 25 series in active production.
Bursting onto television screens this fall, The Casagrandes follows a large, loving family living together in the big city. A companion to the Emmy Award-winning The Loud House, the new 2D-animated series highlights the culture, humor and love of growing up in a multi-generational Mexican-American family, and is set to debut October 14 on Nickelodeon.
‘Dog Days Are Over’ for ‘BoJack Horseman’ and ‘Tuca and Bertie’ director: Amy Winfrey dishes on her ‘Free Churro.’
Ahead of the Season 7 premiere of hit Adult Swim series ‘The Venture Bros.,’ Titmouse head and founder Chris Prynoski reflects on the independent animation studio’s early days.
The writers, EPs and stars of HBO’s adult animated series discuss the evolution of the show ahead of its Season 3 premiere on August 3.
With a new series in production at Cartoon Network Studios, the ‘Adventure Time’ alum reflects on learning to collaborate and the benefits of selling out.
Cinematographer Anthony Di Ninno discusses virtual cameras, staging, lighting, the advantages of a hybrid 2D/3D pipeline, and more for the new animated feature based on Hasbro’s ‘My Little Pony: Friendship Is Magic’ television series.
Shot by series director of photography Jonathan Furmanski, the 22-minute comedic sketch has been heralded as not only a send-up of the types of misogynistic vitriol famous women face, but also an excellent re-creation of its source material.
Director of photography Gale Tattersall employed the RED Dragon digital cinema camera to capture footage in 5K for the Netflix series.
Cinematographer Jay Harper taps the ARRI Alexa to capture footage for IFC’s satirical and saucy new series “Garfunkel and Oates.”
Cinematographer Neville Kidd shot eight installments of the first 16-episode season using up to three ARRI Alexa Plus High Speed cameras outfitted with Cooke Prime and ARRI/FUJINON Alura Zoom lenses.
Cinematographer Steve Calitri employed two ARRI Alexa Plus cameras outfitted with Angenieux Optimo zoom and Cooke S4 prime lenses to capture footage for “Broad City.”
Cinematographer Giles Dunning collaborated closely with executive producer Matt Piedmont and production designer Mark Snelgrove to create distinct looks for IFC‘s miniseries parody, “The Spoils of Babylon,” that nonetheless remain firmly rooted in a 1970’s aesthetic.
for MTVu’s new MTV World documentary series, “Rebel Music,” director of photography Mikhail Galustov employs the Canon C300 digital cinema camera for hand-held shooting and low-light situations.
AMC ramps up for season four of ‘The Walking Dead’ with a three-episode web series and bite-sized servings of second-screen content.
“Kroll Show” series DP Christian Sprenger, known for his parodies of Levis ads as well as his work on Adult Swim series “Eagleheart,” matches an enormous appreciation for sketch comedy with the skills needed to reverse-engineer looks for shows that span reality, feature, commercial, music video and television series formats.
Director of photography Marco Fargnoli employs Arri Alexa digital cameras outfitted with Panavision’s new lightweight 19:90 and 7:200 zoom lenses for Mindy Kaling’s biting single-camera comedy “The Mindy Project.”
Showrunner and producer Jen Lane details production for Sundance Channel’s unfettered, uncensored glimpse at what it means to be sexy, ambitious and living with paralysis in Hollywood.
DP Jeremy Schneider sought to create a distinctive look for the six one-hour episodes of the AMC series, employing saturated hues reminiscent of comic books and designing a lighting scheme for the store that would allow the crew to shoot in a 360-degree panorama.
influenced by the work of Gus Van Sant, “Portlandia” co-creator, co-writer and director Jonathan Krisel employs the Canon 5D to create an an indie look for the sketch comedy series.