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.

EXT. FOREST - NIGHT. A simple enough slug line, and fairly common, but amongst the most challenging for a cinematographer. Here are some essential tips to help you achieve it.

November 22nd marks the 30th anniversary of Back to the Future Part II, the middle instalment in the enduringly popular sci-fi comedy trilogy. Three decades on, the legacy of this time-hopping classic is still being felt.

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.

Zeiss has released a telephoto addition to its Otus series of f/1.4 high-end lenses..

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.

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.

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