Commercial film and photo creating content that matter for brands that matter.

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The Case Against Compression

Cinematography costs money. I sometimes think of my craft as being as straightforward as writing, but that every word I use costs money. Indeed, if each kind of shot — static, handheld, dolly, crane, steadicam, helicopter — carries meaning within the visual language of cinema (and they do), then they are very much like words. And they all have an associated market rate. Imagine how dull a piece of writing would be if the author couldn’t “afford” adjectives, or how boring a specific adjective would become if the author could only afford a few of them, having to repeat them. This is all too often the case within the world of low-budget cinematography.

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