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Shooting in the dark: the making of Spider Noir

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Shooting in the dark: the making of Spider Noir

Spider Noir DPs Darren Tiernan and Peter Deming created a series that looks like a classic film noir using vintage lights, custom LUTs and a “noir vocabulary.”

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James Laxton, ASC Frames Class and Generation Gaps in Beef 2

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James Laxton, ASC Frames Class and Generation Gaps in Beef 2

James Laxton, ASC used a large format camera to create a storytelling journey of color, light, and framing to carry the themes of love, class, and generational cycles in Beef Season 2.

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Evoking dread in Something Very Bad is Going to Happen

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Evoking dread in Something Very Bad is Going to Happen

DP Krzysztof Trojnar's visual language as Something Very Bad is Going to Happen progresses from composed shots, Steadicam, gimbal and handheld to a body rig.

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Shooting in the dark: the making of Spider Noir

James Laxton, ASC Frames Class and Generation Gaps in Beef 2

Evoking dread in Something Very Bad is Going to Happen

Lawrence Sher ASC: filming Apex in the Australian wilderness

Tari Segal, ASC: visual magic in Margo’s Got Money Troubles

DP Greta Zozula on the look of The Testaments

The scrappy, indie production of Hunting Matthew Nichols

Two horror films, one DP: They Will Kill You, Faces of Death

Ted Hope, Hope For Film: the rebirth of independent cinema

Two DPs, one vision: creating the look of Pluribus

Lawrence Sher, ASC reimagines Frankenstein for The Bride!

2026 Academy Awards nominations with Jenelle Riley

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