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.
We’ve all been there. It’s halfway through the afternoon, you’ve only just wrapped the scene you were meant to finish by lunch, and now you have to cram the rest of the day’s material into a couple of hours. How can you do it?
Lighting and shaping a human face well is one of the most difficult things to do for a cinematographer. There are all sorts of variations that prevent a 'one solution fits all' approach. Neil Oseman passes on some tips on shining the best light on people.
35 years after the original, Blade Runner 2049 hit cinemas last week to widespread critical acclaim. While director Denis Villeneuve has received his fair share of praise, many have highlighted the exceptional work of cinematographer Roger Deakins, suggesting it may finally win the 13-times-nominated DP an Oscar. Neil Oseman takes a look at the photographic style Deakins employed for the sci-fi sequel and how it plays into the movie’s themes.
Showing the best side. Lighting a face well can be one of the most difficult aspects of cinematography. But there are also a few guidelines you can always bear in mind to help you along the way. Here Neil Oseman shares one of the secrets to lighting a face well, and also how to break with convention when required.
Scenes involving multiple actors can throw up multiple issues when setting up lighting for both dramatic effect and shape. Neil Oseman takes us through the process and considerations of illuminating multiple actors in a dialogue scene.
Three point lighting often conjours up images of flat corporate video or daytime soap operas. But is the system still relevant today, or is it an important concept we can use to guide us, whatever the situation? Neil Oseman offers us some dissection.
- Sunday 19 Nov 2017 - (22474) Is it time to change the rules of editing?
- Sunday 12 Nov 2017 - (15948) If you’re wondering about 8K workflows, this might help
- Friday 10 Nov 2017 - (7148) Strange but true: Intel is putting AMD graphics cores into its processors
- Tuesday 21 Nov 2017 - (7110) iPhone X: The definitive review
- Tuesday 14 Nov 2017 - (7099) Can the iPhone X compete with a professional camera?
- Thursday 23 Nov 2017 - (297) Audio sample rates for video: what should you be using?
- Thursday 23 Nov 2017 - (689) Blackmagic Microconverters now more affordable than ever!
- Wednesday 22 Nov 2017 - (924) This realtime 3D face capture with the iPhone X offers intriguing possibilities
- Wednesday 22 Nov 2017 - (572) How artificial intelligence works — part 2
- Wednesday 22 Nov 2017 - (1371) Vimeo pushes HDR and 8K in latest update