Nothing compares to the look of an extreme telephoto lens used on a feature film. This type of depth compression is one of the most effective ways to ratchet up tension, entirely in camera.

I’ve been researching extreme long lens shots in cinema, and this has to be one of the

The only wrong time to start making your film is tomorrow.

Moving ahead, I am going to start sharing raw footage with my cinematographers to get feedback at the beginning of my color grading process - not just at the tail end. The goal is to minimize back and forth and ensure the first pass is that much closer to final.

This new version

Movies get made when the pain of procrastination outweighs the fear of failure.

Choosing a film stock is only one part of the final look for most Hollywood feature films. Different film processing / post-production methods yield wildly different results.

The best use of “Day For Night” in cinema was on Jordan Peele’s NOPE.

It looks significantly more realistic than most other films that try to pull it off, largely because of a technique that DP Hoyte Van Hoytema brought over from his experience shooting AD ASTARA.

A 3D camera

If you need something done fast, give it to a busy person.

If you need to land work fast, be the busy person.

Can’t get enough of the 1840’s Petzval lenses used on some of today’s biggest feature films.

In most cases these lenses are adapted for cinema (or the newer Lomography versions are used). But it’s still rooted in nearly 200 year old tech, which is crazy.

Reminder for new filmmakers:

- Everyone has good ideas
- Very few turn their ideas into films
- Even fewer make more than one film

Find a way to consistently make art and you can’t help but stand out.

Making a film is hard.

Not making a film is harder.

If you’re on set debating whether you need an extra take, just shoot one. No need to do playback when you can use that time to get another one in the can.

I love stories like this.

Tarnation was produced for $218 in 2003.

It went on to premiere at Sundance and make $1.2MM at the box office.

Oftentimes, that final 10% of finishing work you put into your film shapes it more than the first 90%.

Love the lens choices on Poor Things. Antique Petzval glass for closeups. A 4mm s16 lens modified for 35mm. Distorted 10mm Arri Ultra Prime… And gorgeous zoom work with the Arri / Zeiss 16.5 - 110 Master Prime.

Good reminder that it’s okay to mix and match glass.

The best directors embrace ideas from their team. Inexperienced directors think every idea needs to come from them.