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  • Inside View: Porchlight

    An interview with Kristen Forrest, executive producer at Porchlight in Nashville, Tenn. • www.porchlight.tv
  • Maria earns first place in her school’s science fair after visiting New York City’s American Museum of Natural History.

    Making Commercials: The Story of Maria’s Awesomeness

    You don’t see many television commercials for museums aiming to connect you to the institution’s mission to discover, interpret and disseminate knowledge
  • 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
  • Writing The Perfect Track

    Like the rest of the production and post world, the market for original music has turned with the tides, has ebbed and flowed, and has shifted here and
  • Spotlight: The South

    Little Rock, Ark.-based 360° Filmworks provides clients with video production, post-production, animation, visual effects, writing, and photography
  • The West

    The western states, as a whole, are filled with more scenery than people. There are, of course, pockets of population that skew that logic – Los Angeles,
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    From the Editor: Behind The Scenes of My Favorite Movies

    Recently, while watching the bonus material on my Blu-ray copy of Star Trek Into Darkness, it struck me how lucky we are to have the opportunity to see how
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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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    From the Editor: The Walking Dead Returns

    This unexpectedly successful show about a zombie apocalypse has become a pop culture phenomenon, spawning a talk show (AMC’s Talking Dead), video games and
  • Digital Discussions: Why Where

    Why do you shoot a film or video project in a certain location? Naturally, if the subject is a Las Vegas casino heist, there might be a strong reason to
  • Randy Wachtler

    Inside View: Warner/Chappell Production Music

    Interview with Randy Wachtler, President & CEO of Warner/Chappell Production Music.
  • Working In The Cloud

    In the beginning, there was film. Images captured on light-sensitive material that could be shared among many viewers. Later came magnetic material called
  • Studios and Soundstages

    In the western United States, studios and soundstages often come with a distinguished Hollywood heritage. In Santa Fe, N.M., Garson Studios was founded by
  • Digital Discussions: A Clearly Cloudy Future

    At NAB this year, a section of the exhibition space was designated as the Cloud Pavilion. About 20 companies exhibited – to the extent that anything
  • Inside View: Rochester/Finger Lakes Film & Video Office

    An interview with Nora Brown, Executive Director of the Rochester/Finger Lakes Film & Video Office.
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    From the Editor: Robots to the rescue?

    Earlier this year, while speaking to students at the University of Southern California, Steven Spielberg foretold of the impending “implosion” of the movie
  • Stardust EP Dexton Deboree and Director Seth Epstein on the set of the Lowe’s flicker-cut campaign.

    Making Commercials: Lowe’s Flicker-Cut Campaigns

    Recent spring and summer television campaigns from home improvement retailer Lowe’s look like stop-motion, or like stop-motion done fast or differently or
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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,
  • Making Commercials: Va-Va-Va-Vroom

    Gary Hartley, creative director with Fox Sports Graphics, asked Los Angeles-based Engine Room (engineroomhollywood.com) to create a new, 20-second opening