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Adam Kimmel ASC NYC Director of Photography | Call 929-323-4441


Adam Kimmel ASC NYC Director of Photography | Call 929-323-4441 Adam Kimmel, ASC 111 4th Ave, Apt 11 D/E New York, NY 10003-5236 (929) 323-4441 Red State Blue State Adam Kimmel director of photography "I was very thoughtful in 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 because 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. In the end, we were all very pleased with how it feels and looks." Adam Kimmel, ASC 111 4th Ave, Apt 11 D/E New York, NY 10003-5236 (929) 323-4441 adamkimmelasc.wordpress.com/ https://flic.kr/p/2im5Q5k

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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...

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...

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...