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 neiloseman.com and his Instagram feed.

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.

The 4:3 ratio isn't dead yet

Published in Production

Shooting 4:3 in 2018? Have we entered a parallel universe? Apparently not. 4:3 would appear to be a good creative decision in the right circumstances. Neil Oseman shares his experiences as a DP going back to square vision.

In his continuing series on different types of lighting, Neil Oseman looks at the history, characteristics, and uses of flourescent lighting.

When legacy frame rates still exist, just what is the best format to shoot your next production in?

The RedShark guide to keeping your crew morale high!

Published in Production

What's the essential ingredient for a smooth shoot? It's crew morale, and if you don't have it any shoot can fall apart, fast. So here's our guide to keeping the crew smiling.

Continuing our series on lighting, Neil Oseman explores the legendary HMI, the type of light that you call upon when you need the sun on tap! 

Fujifilm in conjunction with Musashi Optical Systems have announced a tele-extender which expands the  Super-35 image circle of the Fujinon Premier and Cabrio PL-mount lenses to cover larger sensors.

Can you really re-light in post? [opinion]

Published in Production

The plethora of filters and other processes around now such as shooting RAW and creating a look in post can fool some people into thinking that lighting can effectively be done in post. Neil Oseman vehemantly disagrees.

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