Neil Oseman

Neil Oseman

Neil is a UK-based director of photography who has worked in the USA, Europe and Japan. Upcoming features he shot include The Little Mermaid with Academy Award winner Shirley MacLaine, and supernatural thriller Heretiks with Michael Ironside. He has photographed another half-dozen independent features, innumerable shorts, several music promos and two multi-award-winning short-form action/adventure series. In the last couple of years Neil has been nominated for nine Best Cinematography awards and took home the gong at Festigious International Film Festival 2016 for his work on the short drama Night Owls. Second only to his love of cinematography is his passion for sharing his knowledge of it on his blog and his Instagram feed.

Scottish artist Charlotte Prodger was awarded the Turner Prize earlier in December for an installation film shot on an iPhone. What, if anything, does this mean for the future of filmmaking technology?

Black Mirror Bandersnatch: where will it all lead?

Published in Production

Is the latest episode of Black Mirror a groundbreaking new way of watching television, or just a very clever satire on the idea?

Incredibly over 7000 households in the UK still hold black & white only television licenses. Aside from perplexing our Stateside readers with the idea of a television license in the first place, does black and white really still have much of a place in todays television and film production?

We recently reported that Doctor Who has switched to Cooke Anamorphic/i glass for its latest season. The long-running series is just one of many that is turning to anamorphic lenses to up its visual game. Neil Oseman looks at a few examples and try to discover what anamorphic imaging adds to a project.

This is why Camerimage is an unmissable event

Published in Production

This weekend Camerimage International Film Festival kicks off in Bydgoszcz, Poland. Once again, filmmakers from around the world will descend on the riverside Opera Nova and other venues to celebrate the art of motion picture imaging. Here are a few reasons why many cinematographers, gaffers, camera assistants and colourists consider Camerimage an unmissable event.

Bohemian Rhapsody: We talk to Newton Thomas Sigel, ASC

Published in Production

Bohemian Rhapsody hit cinemas across the UK recently. Directed by Bryan Singer of X-Men and The Usual Suspects fame, the film charts the story of Queen from their formation in 1970 to their triumphant Live Aid set in 1985, with plenty of their classic rock hits along the way. An Oscar-baiting Rami Malek (from Amazon’s Mr Robot) stars as larger-than-life frontman Freddie Mercury. Neil Oseman interviews the film's DP Newton Thomas Sigel about his experiences making the film.

Filmmaker IQ has released a new video which drills deep into the science and practicalities of dynamic range. For several years now, dynamic range has been a major specification by which all new cameras are judged, but there is still plenty of confusion out there about what exactly it is and how to make the best use of it. This new video aims to shed some light on the subject… Pun fully intended.

The recent release of First Man, a film depicting the life of Neil Armstrong during the time of the Apollo missions, has further highlighted the creative use of traditional film as well as filmmaking techniques. Neil Oseman breaks the film down and takes a closer look at how Damien Chazelle realised his vision using some of the most traditional methods in filmmaking, with no CGI in sight.

If you want to improve your eye for composition and lighting, there is no better way than to give up your digital gadgets and to go back to analogue photography.

Five achievable ways to shoot scenes in moving vehicles

Published in Production

Since almost the dawn of cinema, scenes in moving vehicles have challenged the ingenuity of filmmakers. The difficulties of fitting equipment into cramped cars or cabins, the problem of capturing clean sound – and, of course, safety issues – have all led to various techniques being developed over the decades. Most of these techniques are now achievable, in some form at least, by even low-budget filmmakers.

Lighting through windows is an essential art to learn

Published in Tutorials

The first step in lighting a daytime interior scene is almost always to blast a light through the window. Sometimes soft light is the right choice for this, but unless you’re on a big production, you simply may not have the huge units and generators necessary to bounce light and still have a reasonable amount of it coming through the window. So in low-budget land, hard light is usually the way we have to go.

The gaffer is one of the unsung heros of the filmset. Finding a good one can make the difference between a nightmare or a dream shoot. Here's our guide to doing it without accidentally giving yourself a hairstyle like Albert Einstein.

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