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Adam Kimmel, DOP Explores Innovating Comedy Shows

At a recent interview, ASC, Adam Kimmel, disclosed an approach that he took in one of his most recent shoots, a CNN / Netflix comedy series. Kimmel, A well respected Cinematographer (Director of Photography (DOP/DP) for several years, is always happy to talk about his perspective and also the advantage of his expertise with his coworkers and students. Find out more about his job at the following link and the famous cinematographer: Adam Kimmel DOP. Though the approaches to stand up comedy shoots are relatively well established and have been for quite a while, Adam Kimmel has shown once again that innovation is always welcome from the industry. During a recent shoot for Colin Quinn’s Red State, Blue State, Kimmel opted to work with the Alexa LF cameras of Arri, complemented by their signature primes. Although this mix produces an image, using also the chance of more shallow depth of field aesthetics and also immersive, it’s an unusual approach for a stand-up show. Regardless of this
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Adam Kimmel Director of Photography New York NY | Call 929-323-4441

Adam Kimmel Director of Photography New York NY | Call 929-323-4441 Adam Kimmel, Director Of Photography, Explores Innovation In Comedy Shows In a recent interview, Adam Kimmel, ASC, revealed an unusual approach he took in one of his most recent shoots, a CNN / Netflix comedy show. Kimmel, A well respected Cinematographer (Director of Photography (DOP/DP) for many years, is always happy to share his perspective and the benefit of his experience with his peers and students. Learn more about the renowned cinematographer and his work at the following link: Adam Kimmel DOP. While the approaches to stand up comedy shoots are relatively well established and have been for quite some time, Adam Kimmel has demonstrated once again that innovation is always welcome in the industry. During a recent shoot for Colin Quinn's Red State, Blue State, Kimmel opted to work with Arri's Alexa LF cameras, complemented by their signature primes. While this combination produces an outstanding image, w
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Adam Kimmel DP | Call 929-323-4441

Adam Kimmel DP | Call 929-323-4441 Using this combination of cameras and lenses was not an easy task. Five Alexa LF's and two sets of Signature Primes were sourced from ABLE Cameras in New York. "These Signature primes were still entirely new and hard to get, so we had to plan how to work with five cameras and only two sets of lenses for a live show. "I was very considerate of my placement of cameras and choice of focal lengths as I didn't want to be changing prime lenses in the middle of the show. Also, since we were shooting 360° and I didn't want to see other cameras, it made sense to keep the profiles more compact and the cameras more fixed. Director Bobby Moresco was pleased with the look, and the coverage I was able to give him and everyone involved seems to love how the show turned out." Using the larger format cameras and lenses also facilitated certain aspects of post production, "I asked DIT Dave Satin to adjust the frame lines so I would have
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Adam Kimmel DP | Call 929-323-4441

Adam Kimmel DP | Call 929-323-4441 He also expects upcoming releases of new equipment to facilitate similar productions going forward, as he says, "I've been to the demo of the ALEXA Mini LF and can't wait for those cameras to be more available. Still, I have to say this one all went so well, thanks in no small part to Mike Nichols and AbelCine's support. It was a lot to ask on short notice, and I felt taken care of" Adam Kimmel has been a member of the Academy of Motion Pictures Arts and Sciences since 2007 and the American Society of Cinematographers since 2008. He has shot over 16 feature films, receiving two Independent Spirit nominations and a BAFTA shortlisting for best cinematography. His filmography includes Bennett Miller's Capote (5 Academy Award nominations including best picture and the best actor win for Phillip Seymour Hoffman). He is also known for Lars and The Real Girl, Never Let Me Go, and Jesus' Son, as well as a currently untitled Benn
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Adam Kimmel, DP On Panel at NAB

Throughout his appearance in the NAB Show, Adam Kimmel, ASC, shared his ideas on the crucial part played by the Digital Imaging Technician (DIT) on any given set. He explained his experiences as a director of photography and shared tales he has found himself through the years. Read further here: Adam Kimmel DP. Balancing the visual and creative aspirations with all the logistical and financial limitations are a few of the most difficult challenges that Directors of Photography (DPs) have faced throughout their careers. The conflict between saving the manufacturing money or looking to capture the choices made as well as the picture can feel as they are compromising the other or one. Part of what defines a successful DP is the way they respond to those challenges, the way they utilize their expertise and the resources at their disposal to overcome these barriers without compromises made to both end. This was one of the primary topics discussed throughout Kimmel’s visit at the NAB Sho
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NYC DP Adam Kimmel Call 929-323-4441

NYC DP Adam Kimmel Call 929-323-4441 During his appearance in the NAB Show, Adam Kimmel, ASC, shared his thoughts on the critical role played by the Digital Imaging Technician (DIT) on any given set. He described his personal experiences as a director of photography and shared stories from situations he's found himself in through the years. Read further here: Adam Kimmel DP. Adam Kimmel DP on set with Colin Quinn: Red State Blue State Balancing the visual and creative aspirations with the logistical and financial limitations are some of the most difficult challenges that Directors of Photography (DPs) have faced throughout their careers. The conflict between saving the production money or looking for the best way to capture the desired image and the choices made can often feel like they are compromising one or the other. Part of what defines a successful DP is how they respond to these challenges, how they use their experience and the resources at their disposal to overcome these
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adam kimmel DOP NAB

"This wasn't an easy decision. I knew it would make my job more difficult. Still, given the available local options, I took on the extra work and was able to manage the image control myself. I think all the years of working in film and the photochemical process with labs gave me the skills needed to do much more of the work in-camera and with lighting. Even when I have a great DIT on my crew, I still tend to work that way." But Kimmel said that when working with a DIT, he enjoys collaborating with them to achieve a specific look. "I prefer going to the DIT, outlining my vision of the scene, and getting them fully on board. I then also ask that we control what gets seen on all the monitors to maintain that vision," expressed Kimmel. Remarking that on commercials, "clients usually have concerns that I've already heard in pre-production and have taken into account in making the choices I've made. I also think this process of sometimes having many diff
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