Crane moves can give you scope, geography and the sense of discovery. Understand why you are doing it first, not just because it looks cool.
What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.
Many of you have expressed an interest in composition: what makes a good frame or a bad one. There are a few classic frames that I customize to give them flare. I think this will help all of you find your compositional voice.
Working with less is how I like to light. On We Are Marshall, I challenged myself and my team to think about how we could light a major night exterior in the rain with just two lights.
Using the right filtration to impose a mood, create a style, encapsulate a time period or just to cream a woman’s skin can be a very powerful visual tool. The first diffusion I go to time and time again, whether it is film or HD, is smoke.