Despite its vintage roots, VistaVision has quietly re-entered the modern filmmaking landscape through an influx of new movies shot on this 35mm film format. What is it, why did it disappear, and why is it suddenly popular again?

In this video, we’re going to break down the visual language cinematographer Dan Laustsen often returns to - in his work with bold, imaginative directors like Guillermo del Toro and Chad Stahelski - and explore the technical film gear that he uses to do so.

The photography in acclaimed director Paul Thomas Anderson's films feels alive: not because it’s perfect, but because it’s honest. In this video, we’ll look at five different techniques that he uses in his films to build emotion not through perfection, but through presence. 

Filmmakers have three powerful colour tools at their disposal: production design, lighting, and colour grading. Each plays a distinct but interconnected role in controlling the emotional and visual tone of a story.

In this episode of Cinematography Style, we’ll explore the visual language of the French DP and the filmmaking gear and techniques he selects to make it happen. Examining how his use of texture, light, and composition creates a cinematic world that’s both romantic, natural and restrained.

Let’s take a look at Lost In Translation ($4 million), Priscilla ($20 million) and Marie Antoinette ($40 million) to see how Sofia Coppola used the resources she had to tell powerful stories about women protagonists framed by desaturated, pastel palettes, a mature restraint, and an almost musical sense of stillness.

In this video, we’ll break down what a Production Designer does on set to bring a film’s visual language to life.

What are some difference between cine and photo lenses?

From field of view and depth of field to lens compatibility and noise performance, we’ll explore how each format influences your image, your workflow, and ultimately, your story.

There is one basic trick which I often like to use when shooting close ups. I like to call it: framing on the shadow side.

In this episode let's take a look at the cinematography of Bruno Delbonnel.

Unbelievably, this four episode series directed by Philip Barantini and shot by Matthew Lewis, decided to attempt the impossible and shoot each of these approximately 60 minute episodes in one, single take. In real time without any post production trickery that moulded different shots together. Let's break down how they did it.

Let’s explore the technical evolution and history of Technicolor, and look at how this groundbreaking process brought hues to life, transforming filmmaking forever.

In this episode let's break down five popular focal lengths that famous filmmakers love: how they shape the image, why they’re used, and what they reveal about the filmmaker behind the camera.

One director whose work has exceedingly powerful visual trademarks bound by order and objectivity is Yasujirō Ozu. What are some of the characteristics of his cinematography and how do they influence how we experience the content of his movies?

Rather than focusing on how phones can be used to shoot projects, let's look at how they are more often used by professional filmmakers - not for their filming ability but rather by using various apps as cinematography tools.

Each production should follow a standard process which can be broken down into five easy steps: blocking, technical setup, rehearsal, final checks, and shooting.

Gregg Toland wasn’t just a cinematographer - he was a technical pioneer who helped invent many aspects of the visual language of modern cinema. Let’s examine his influence by going over some of his philosophical ideas and his technical execution of them in today’s Cinematography Style.

While flat (1.85:1) and scope (2.40:1) formats dominate the cinematic landscape, some filmmakers like to use more unconventional aspect ratios. Let's explore 5 of these unusual frame sizes in this video.

No matter the scope of the movie, there will always be two constraints that every filmmaker will need to fight against: time and money.