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Pete Lee is not new to working in the rugged wild. Adventure is second nature to him. A look at his resume shows the challenges he’s used to — Sound Supervisor on Special Forces: Ultimate Hell Week, Sound Recordist on Trailblazers TV Series, Sound on Man Vs. Wild Series and the list goes on. So when he was called on to scale the world’s highest free-standing mountain, while providing sound, Pete was in.

Re-creating the past can be challenging for filmmakers, especially when tasked to duplicate the look of a particular time in history for a period movie. Add a tight budget, cramped locations, and underwater photography, and you have the situation James Chressanthis, ASC, faced as cinematographer for the movie The Watsons Go to Birmingham. Based on the novel by Christopher Paul Curtis, the film depicts a fictional family’s 1963 road trip intersecting with an actual terrorist bombing during the civil-rights era. To help with some of the film’s challenging production requirements, Chressanthis used two EOS C300 Digital Cinema cameras and EF-series lenses from Canon U.S.A., Inc., a leader in digital imaging solutions.

Many factors affect the final result of your composite chroma key. By making the right technical and creative choices ahead of time, you can avoid costly mistakes both in time and money! Avoiding these pitfalls can make your key look natural and realistic, unlike what you see typically on your local weather newscasts.

Over the last three decades, I have served as both a Camera Operator on various shoots in San Diego and as a Video Editor. It is good to have experience in both realms because as an Editor you know what to shoot, and as a Shooter you keep in mind all the shots that the Editor will want. “Tape is cheap” is an adage popular during the digital tape days meaning that the camera operator shouldn’t feel constrained about shooting a lot of footage. Strive to be the camera op whose every clip is usable.

Making any kind of film is time consuming and expensive. A large part of the cost comes from buying, or more realistically for a student crew with just a handful of people, renting high quality equipment. Not least because insurance could make the rental prohibitively expensive.

Featured in 2018 in Variety as one of the Up Next generation of filmmakers, multi-talented cinematographer Johanna Coelho has worked as a cinematographer on a number of diverse projects, including award-winning narrative films, music videos, and TV Shows. She recently brought her expertise and insight to the upcoming season 4 of ABC’s The Rookie. In this interview, Johanna dives deeper into one of her favorite scenes from season 4, including the tech she used and how she overcame technical challenges she encountered.

TNT’s series Snowpiercer follows the survivors of Earth’s second ice age as they live on a train that travels the planet through snow and ice. The second season of the series further explores the desolate world outside of the train. FuseFX’s VFX supervisor behind season 2, Damien Thaller, talked to ProductionHUB about how the visual effects really help to build the frozen world outside of the train — which includes building a snowy, icy, and destroyed image of many different cities throughout the world. The VFX also helped create over 1000 train cars and the visuals of the train ploughing through so much frozen snow and ice.

In our latest interview, we spoke with Jerry Fleming, production designer for the upcoming FX mini-series Kindred, which premiered on December 13. Kindred follows Dana, a young aspiring writer, as she uncovers new secrets about her family’s past and gets sucked back in time to a 19th-century plantation. The series stars Mallori Johnson, Micah Stock and Ryan Kwanten.

Rocco Matteo is the production designer on Paramount+’s new thriller Rabbit Hole, which premiered Sunday, March 26, with new episodes releasing weekly. Rabbit Hole follows John Weir, a private espionage operative who battles to preserve democracy in a world constantly at odds. As John gets framed for murder, the lines between reality and imagination blur, leaving the audience guessing what comes next.

The image is now, in the digital age, the most prolific it has ever been. With the advancement in digital cameras, more and more video and photography production can be seen throughout various media, whether broadcast or the web. This is especially important. With social media now being at the forefront of advertising, a cinematographer that understands how to proficiently acquire, produce, and manipulate the image is in a highly regarded position and helps provide a certain look or style to a brand or company. They are able to elevate the production value in any project considerably with their experience and efficiency in the use of their photography arsenal.