“Cinematographer Lowell A. Meyer’s handheld approach captures the immediacy of the circumstances without letting things get too woozy, as Nikki speeds through the streets in desperate search for shelter. While ... [Read More]

“The tunnel scenes, sure to be enveloping on a big screen, are the only ones that weren’t shot in New York City: The filmmakers used an upstate tunnel, in Rochester, ... [Read More]

“The beautifully shot film was shot by DP Larkin Seiple and graded by MPC’s Ricky Gausis [and edited by Luke Lynch], enhancing the final piece and looking at each sequence ... [Read More]

“[Cinematographer Jas Shelton] relied on wider, more deliberate angles and longer takes in early episodes as we unravel the mystery of what happened to Jackie, and tighter, more frenetic hand-held ... [Read More]

“Going into season two,” continued [cinematographer Jas Shelton], “we wanted to have some continuity from season one. But we also wanted season two to have its own voice as well.” ... [Read More]

DEADLINE: Returning for its fifth season in June, Netflix’s Queer Eye reboot clearly has continued to resonate both with viewers and TV Academy voters. Why do you think that is? HISHAM ABED: ... [Read More]

“I almost had a full panic attack when I started to read the union protocols,” said Emmy-nominated “Grace and Frankie” costume designer Allyson B. Fanger, who is prepping to restart ... [Read More]

[Editor Daysha Broadway]: “Editing is a great mix of technology and creativity. When I was a kid, I loved Robert Zemeckis’ “Who Framed Roger Rabbit” – the blend of animation ... [Read More]

“[Patti Lee, ASC] first got her start in the business as an electrician and worked her way up the ranks to gaffer and lighting director before moving into the camera department, ... [Read More]

“Allyson B. Fanger, the four-time Emmy-nominated costume designer for Netflix’s Grace & Frankie, has been a successful designer and stylist in Hollywood for a couple of decades now, with accolades ... [Read More]