Novelist Rodes Fishburne’s new series, Paradise Lost, for Spectrum Originals is a rich, Southern slow burn in front of the camera, and a path toward inclusivity behind the lens. by David Geffner / Photos and Framegrabs Courtesy of Paramount Network / Spectrum Originals...
Season 3 of Netflix’s rural family drug saga, Ozark, hits new visual highs (and dark narrative lows). by Valentina Valentini / Photos by Steve Dietl / Framegrabs Courtesy of Netflix When Marty Byrde (Jason Bateman) walks into an office full...
Union members pay tribute to award-winning Director of Photography Allen Daviau, ASC. by Pauline Rogers / Featured Image Courtesy of Bruce McBroom The internet blew up on April 15th, 2020 when it was announced that cinematic icon Allen Daviau,...
There never was (or will be) another artist like Aretha Franklin, as National Geographic Channel’s third season of Genius makes clear. by Matt Hurwitz / Photos and Framegrabs Courtesy of Richard DuCree / National Geographic Channel Veteran TV director Anthony...
Michael Alden Lloyd digs deep for indie gold in the new Lionsgate feature, The Quarry. by Pauline Rogers / Photos and Framegrabs Courtesy of Lionsgate “It’s a classic setup – a stranger rolls into town, claiming to be someone he’s...
Season Two of NBC’s hit drama, Manifest, challenges viewers (and the production team) to soar outside their comfort zones. By Pauline Rogers While the series is based in realism, elements often veer in different directions depending on the moments. Season...
Game engine technology is showing up all over the film and TV industry, and now it takes a bow in the world of live awards shows. by Debra Kaufman Hollywood and game engines have forged an interesting alliance. The...
On-set VFX makes a mighty return via the use of LED wall imagery on The Mandalorian, the first Star Wars live-action series for television. by Kevin H. Martin / Photos by Francois Duhamel, SMPSP & Melinda Sue Gordon, SMPSP While working on...
