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 neiloseman.com and his Instagram feed.
For decades the idea that the wider the aspect ratio, the more cinematic a film will look. But this entire notion has been turned on its head recently with a number of big name directors coming to the conclusion that taller is better. Why is this, and what does it mean for cinema?
Hollywood is known for its wallet-busting excess. James Cameron, Ridley Scott, Michael Bay, George Lucas and J. J. Abrams have spent billions and billions of dollars between them, making their blockbuster movies. But all of these directors (or at least their visual effects supervisors) know that sometimes the cheapest, simplest trick is the most effective. Here’s a run-down of the top five best low-tech effects in massive movies.
30 years ago, director James Cameron released his fourth movie, The Abyss. Although one of his less-remembered films, dwarfed by his blockbuster hits like Titanic, Aliens and the first two Terminator films, The Abyss’s place in history is assured by its groundbreaking CGI. But that was just one of the many achievements of this underrated underwater thriller.
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 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 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.
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