“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.
Shot primarily on the Canon EOS 7D, “Put This On” offers sartorial wisdom and guidance on men’s classic style with gentle wit, genuine knowledge and passion.
The music video for Marilyn Manson’s “Slo-Mo-Tion,” directed by Manson and shot by Alan Lasky, utilizes motion effects captured in-camera to create a dynamic look that pushes the boundaries of digital cinematography.
A punk pastiche, “Pussy Riot — A Punk Prayer” incorporates footage from Russian news agencies along with material captured with mobile phones and handheld cameras as well as stabilized DSLR rigs.
One of the forerunners of cinéma vérité’s North American cousin, direct cinema, Albert Maysles was first drawn to film Iris Apfel by a close-up photo that ran as a full page in the weekly New York Observer. “That face is really something special,” he says.
Cinematographer Giles Dunning chose RED Epic cameras outfitted with Canon L-Series and Angenieux Optimo zoom lenses to capture live concert footage for “The Road to Red Rocks” concert film for British folk rock band Mumford & Sons.
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.”
Celebrated illustrator, photographer and director Matt Mahurin’s collaboration with Tom Waits on the video for “Hell Broke Luce” has a handcrafted feel and level of authenticity that can only be achieved by a solo practitioner.
Produced by filmmaking team Peter Jackson and Fran Walsh, and directed by documentary filmmaker Amy Berg, “West of Memphis” was shot by DPs Maryse Alberti and Ronan Kileen with a combination of Sony PMW-EX3 and PMW-F3 camcorders supplemented with Canon EOS 5D and 7D digital cameras.
Leading up to her celebrated 2010 retrospective at the New York Museum of Modern Art, first-time director Matthew Akers followed Abramović for 10 months, documenting her life relentlessly.
Director and cinematographer Alison Klayman gained an incredible level of access for “Ai Weiwei: Never Sorry,” documenting the celebrated artist’s activities over the past several years, during which time government authorities shut down his blog, beat him, bulldozed his newly-built studio, and, in 2011, held him in secret detention for 81 days, making him China’s most famous missing person.
“Shut Up and Play the Hits” documents the once-in-a-lifetime performance and an intimate portrait of LCD Soundsystem frontman James Murphy as he navigates the personal and professional ramifications of his decision to disband one of the most celebrated and influential groups of its generation at the peak of its popularity.
The Digital Video All Star Awards are presented yearly to a select group of individuals or filmmaking teams. This year’s recipients include Cristina Valdivieso and Jon Connor, Tom Guilmette, Shane Hurlbut, ASC, Vincent Laforet, Tom Lowe, Patrick Moreau and Kevin Shahinian.
Filmmaker Wes Anderson brings his trademark visual style to the small screen, directing a pair of television commercials for Hyundai Motor Group which aired during the live broadcast of the 84th Annual Academy Awards ceremony.
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.
Award-winning documentary film director Bruno Wollheim’s acclaimed 2009 documentary, “David Hockney: A Bigger Picture,” is an intimate portrait of one of Britain’s greatest living artists as he returns at the age of 68 to his native Yorkshire to paint its landscape.
CatCam: The Movie charmed audiences at this year’s SXSW Film Festival, where it received the Short Film Jury prize for documentary shorts before moving on to screenings at the Aspen Shortsfest, Full Frame, Sarasota and Tribeca.
Watching “In Tahrir Square” is to become immersed in the world of the protestors, from the peaceful first days of the uprising through the deadly battles between pro-Mubarak forces and anti-Mubarak demonstrators. The film shadows Sharif Abdel Kouddous, a young Egyptian-American journalist who leads cameras into Tahrir Square and provides insightful accounts of those tense days, his tweets and live reporting attracting international attention.
Picking up the story where “Dogtown” left off, Filmmaker and legendary skateboarder Stacy Peralta chronicles the personal histories of the Z-Boys and the origins of the Bones Brigade.
With a large chorus of punk rock’s leading men-turned-fathers, “The Other F Word” follows Jim Lindberg, a 20-year veteran of the skate punk band Pennywise, on his hysterical and moving journey from belting out his band’s anthem, “Fuck Authority,” to embracing his mid-life role as a father.
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.