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Making TV: Shooting Homeland


Before beginning work on season three of Homeland, cinematographer David Klein, ASC, asked the show’s executive producer and writer, Alex Gansa, “Who do I answer to about the look of the show?”

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Making TV: Shooting TV Scenes That Stand Up To The Movies


Television cinematographers look to feature films for inspiration – not today’s feature films so much as yesterday’s. 

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Making TV: Shooting Lawyers


Some television shows want you to forget about the camera and focus on the emotional contact among the characters. The Good Wife is a show like that. 

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Making TV: Playing With Fire: When fire breaks out on Chicago Fire, it's real


Fires – real fires – rank as major characters in Chicago Fire. Director of Photography Lisa Wiegand and Special Effects Coordinator John Milinac carefully plan the fires for the NBC show from prolific hit-maker Dick Wolf.

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Making TV: Cameras And Characters


Television dramas always evolve, especially during the first two years. Showtime’s House of Lies really evolved. In the first season, it was an edgy, profane, sexually raunchy comedy about management consultants lying to clients and pumping them for cash. Then it morphed into a drama with characters you want to get to know. Many dramas leave that up to the actors. In this case, Peter Levy, ASC, ACS, the show’s cinematographer, uses the camera to help.

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Making TV: Shooting The Dark Side


Many critics call Scandal ridiculous but then recommend it, saying that it is also great fun. Part of the fun is the way Cinematographer Oliver Bokelberg, ASC, shoots the fast-talking, fast-paced show about a Washington, D.C., firm of fixers that make scandals – the dark side of life in the nation’s capital – go away.

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Making TV: Making Grimm Faces


Marshall Adams shoots Wesen monsters. But he is not a Grimm. Working with visual effects experts, Grimm Cinematographer Marshall Adams, ASC, lensed eight of 15 episodes shot so far in the second season of NBC’s hit police drama with a monstrous twist. Cinematographer Eliot Rockett alternates with Adams and handled the other seven episodes. Rocket also shot four of the last nine episodes in season one, alternating with Cort Fey.

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Making TV: Shooting ‘MacGyver Medicine’


Royal Pains chronicles the exploits of Dr. Hank Lawson, a concierge doctor for the rich and poor in the Hamptons. Patients don’t visit concierge doctors; concierge doctors visit patients.

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Making TV: Let There Be Light


Cinematographer Patrick Cady on the set of ABCís Body of Proof.Body of Proof is a crime drama with a different look and feel. The stories are different because the main characters, medical examiners, are different. The path to solving the crime is different, too: The victim’s body reveals the clues that guide the police.

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Making TV: Crazy Fast Shooting


Necessary Roughness, USA Network’s take on sports psychology, rolls out the couch for the New York Hawks, a team full of head-case football players.

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Making TV: Fun With Cars, Bombs And Spies


 Have you ever seen a car driven off of the top floor of a parking garage and crash into a store across the street? In one episode of Burn Notice, Michael Westen (Jeffrey Donovan), the “burned” or discredited spy of the show’s title, sends a red convertible over the edge to distract some bad guys. The ploy works, but sends the usually easy-going Sam Axe (Bruce Campbell), a retired Navy SEAL, into a dither because the car belonged not to Westen but to Axe’s girlfriend.

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Making TV: Filming Castle


If you’re a fan of Castle, the popular ABC police drama, you may have noticed that the show’s terrific production values somehow look a little different than other shows with terrific production values.

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