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  • no-image-4909

    Making TV: Yasu Tanida - Starting The Blacklist

    It took 19 days to shoot the one-hour pilot for The Blacklist. Typically, pilots require more time to shoot than the remaining episodes from a show’s first
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    Making Commercials: Stardust - Psychedelic Tech

    If you have seen “Samsung Galaxy, London Collage,” the commercial that launched the latest Samsung Galaxy Note smartphone and Samsung Gear smartwatch, you
  • 4K Cinematography: 4K Your Way

    Thanks to the brilliant work of Alfonso Cuarón and his son Jonas with Gravity, television set companies showed off content befitting the beauty of their 4K
  • Getting the Most from Renting Gear

    Today’s market is filled with camera systems, from the Canon C300 to the ARRI Alexa XT, and cinematographers demand even more camera and lens options. That
  • Is Filming with a ‘Model Helicopter’ Legal?

    At NAB, Cinegear and probably every studio you care to name, people in the industry are talking about the great work someone they know is doing with a
  • Spotlight: East and South

    Once again, we shine our Spotlight around the country, looking for people doing interesting work in film and television production, animation, commercial
  • NAB 2014 Preview

    Panasonic will introduce two new VariCams at NAB. One is a 4K VariCam with a new super 35mm MOS image sensor for 4096 x 2160 (17:9) 4K image capture.
  • Production Music in the Multi-Screen Universe

    When perusing the offerings of production music companies, large and small, it’s easy to find those that are adding a new library or two, striking up a
  • Cinematography: History of Cinematography

    The seemingly continual barrage of press releases, blog posts, and reviews about new digital cinematography cameras often emphasize their revolutionary new
  • Cinematography: Expanded Cinematography

    During the last few years, the role of imagery in films became much more pronounced and very distinct from the imagery of the end of the 20th century. New
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    Evolution

    There are few industries that have been impacted by technology more than film and video. From new ways to make them to new ways to show them, the market
  • Cinematography: ASC Awards – Dean Cundey

    The American Society of Cinematographers (ASC) held its annual awards banquet on February 1, 2014 and the winner of the Lifetime Achievement Award was Dean
  • Tim Napoleon

    Digital Discussions: Getting on Screens Everywhere

    The buzzword is “second screen,” but that doesn’t really tell the tale. Producers are looking at many more than two screens to show their work.
  • Cinematography: 3D: The 2014 Playbook

    If you went to the CES extravaganza in Las Vegas this year, you would have seen the world of 3D everywhere. My excursion onto the exhibit floor began as it
  • Cinematography: Richard Rawlings - ASC Awards

    Richard Rawlings, ASC, was honored at the annual American Society of Cinematographers banquet this year for his career body of work in television. Rawlings
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    Virtual? Real? Can we tell?

    We’ve all seen the results of computerization in film and video production. Post is often done completely in the computer; virtual effects (VFX) dominate
  • Making TV-Homeland

    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
  • NFL logo

    Making Commercials: Lighting Up The U.S.

    The National Football League unveiled a new treatment for its iconic copyright logo during the playoff games in January.
  • Top: A mouse creature from NBC’s Grimm. Copyright NBC – Grimm 2012.

    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.
  • Goin’ Mobile

    Few places in the United States can compare with Hawaii for scenic beauty. As a filming location, it can provide almost every environment a director will