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Apr 25, 2017
Framework: A Visual Breakdown with Autumn Durald
“Not to sound cocky or anything, but I actually think it’s kind of easy to make something look good,” Autumn Durald told us. She’s the acclaimed cinematographer behind feature films like 'Palo Alto' and 'One and Two', as well as music videos for band...
Apr 18, 2017
How to Shoot a Car Chase: Advice from Shane Hurlbut, ASC
Since *Steve McQueen*’s iconic 10-minute car chase scene in the 1968 film *Bullitt* (widely considered to be the first proper car chase in movie history), things have gotten really out of hand — in the best possible way...
Apr 12, 2017
Brooklyn Aerials Is Pushing the Boundaries of Drone Storytelling
It’s surprising, with all the new things that have been done in film, that there are still new things to do. Technology has made the previously impossible commonplace, but it’s also opening up a whole new world of previously unthinkable feats...
Mar 28, 2017
Framework: A Visual Breakdown with Paul Özgür
There are no rules in cinematography except the ones you set for yourself, and even those are made to be broken. At least that’s the way Paul Özgür operates...
Mar 07, 2017
The ‘Narcos’ Title Sequence, Beat by Beat
Like all effective title sequences, the title sequence for *Narcos* contains the essence of the entire show. Themes of greed, excess, absurdity — even the narrative arc — can all be found here, if you look closely enough...
Feb 22, 2017
Directing for Visual Effects on "The Cage"
At the center of Neighborhood Film Company’s The Cage — our first Filmsupply Original — there is a recurring metaphor of a young man trying to break free of the seemingly malevolent vines that threaten to smother him...
Feb 22, 2017
Introducing Filmsupply Originals
The projects that move us the most — the projects we consistently find the most interesting, the most exciting, the most devastating, the most shareworthy — are also the most in danger of going unrecognized: *passion projects.* And that’s why we’re s...
Feb 14, 2017
Swiss Army Man's Matthew Hannam on Editing for Your Audience
“I’ve always made very, very strange films,” Matthew Hannam tells us, a tidy summary of a skyrocketing editing career that has included such genre-bending projects as Swiss Army Man, James White, and the recent Netflix miniseries The OA...
Feb 07, 2017
Why Editors Should Listen to Their Work
When filmmaker Ian Reid found himself in the middle of an edit that just wasn’t coming together, he learned an important lesson about listening to his own work...
Jan 24, 2017
How SNL’s Adam Epstein Edits Under Pressure
Every week, the Saturday Night Live Film Unit team pulls off a not-so-small miracle. They produce, shoot, edit, and broadcast a fully realized short film in less than four days...
Revolutionizing Stock Footage