Adam Kimmel, ASC | Director of Photography | Cinematographer New York, NY | Call (929) 323-4441

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

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

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 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

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

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

"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

Directory of Photography New York NY | Adam Kimmel Call 929-323-4441 Adam Kimmel, ASC, the renowned Cinematographer, recently attended the New York ICG Camera Operator Workshop as a keynote speaker. The ICG Camera Operator Workshop in New York is an intensive training event for camera operators that combines orientation, discussion, and Q&A and workshop. It is taught by distinguished Local 600 operator/instructors, 1st ACs, and IATSE Local 52 dolly grips and also includes many hands-on camera exercises. Adam Kimmel Cinematographer - ICG Camera Operator's Workshop Kimmel delivered a talk on the relationship between the Cinematographer and the Operator. He spoke about the role of the Cinematographer( Director of Photography (DP)) and the relationship to his camera operator—and specifically about how he chooses an operator for a given project, and how he communicates the style and ideas for that project. His talk was mostly done in a Q and A format allowing the conversation to fo

Directory of Photography New York NY | Adam Kimmel Call 929-323-4441 Attendees of this workshop also developed the skills needed to choose a camera support system, layout a shot, practice on the different types of heads and coordinate with the dolly grip and focus puller to achieve the shot. They gained experience using lighting, composition, and camera movement throughout a single cinematic shot as well as in a sequence of shots. These are essential skills every Cinematographer must develop. During the lively Q&A session, many of the technical and creative issues on of the films Kimmel has photographed, like Mark Felt - The Man Who Brought Down The White House, Capote, and Never Let Me Go, were covered. For almost 35 years, Kimmel has been collaborating with different directors and establishing the looks of feature films and commercials. As such, he has earned over 35 film, short and documentary credits throughout his career and remains quite active in the commercial field as wel

ASC, adam Kimmel, the Famous Cinematographer attended the New York ICG Camera Operator Workshop as a speaker. The ICG Camera Operator Workshop at New York is an intensive training event for camera operators who unites orientation, discussion, and Q&A and workshop. It’s taught IATSE Local 52 grips, 1st ACs, and by Local 600 operator/instructors and includes many camera exercises. Kimmel delivered a talk on the connection between the Cinematographer and the Operator. He talked about the part of this Cinematographer( Director of Photography (DP)) along with the relationship into his camera operator–and especially about how he selects an operator for a given project, and how he conveys the style and thoughts for that undertaking. His talk was done allowing the conversation to follow the lead of their participants. Learn more here: Adam Kimmel Cinematographer. Many attendees of the ICG assignments wanted to construct their own proficiency in the associated technical understanding w

Adam Kimmel, a cinematographer, known for his role in well-received films as Never Let Me Go and Capote, as well as for working with world-famous brands such as Nike and Audi, spoke about his usage of the newest Arri Signature Prime lenses for a number of his more recent commercial work. Shooting challenging scenes in multiple places under enormous strain are the everyday reality on a lot of business film sets. For Adam Kimmel, ASC, it’s a means of life that he’s known and loved for the majority of his life. He has been a favorite choice for work because he was beginning as a cinematographer and has returned to function between feature movies, traveling all around the world to take commercials for of the players. In quite a few recent car commercials, he has been using the bigger format Arri Alexa LF and their signature prime lenses. “Among the things I enjoy about the Signature Primes is the way that they manage skin tones and texture. There’s a naturalness for their picture I ado

The class is usually one session lasting for about 3 hours. Kimmel, who has participated in this class previously, decided to show students, segments of two movies he shot,”Capote” and”Never Let Me Go.” Both clips were out of the third acts of the films. He clarified the decisions he needed to create and why he left themand then provided details about the factors that helped him arrive in these decisions. In”Never Let Me Go,” Kimmel clarifies that there was a sequence in which one of the chief characters finds the one thing he believed was keeping him alive, isn’t true. “He is destined to expire soon and die young,” clarified Kimmel. It was scripted as a night scene that happened out on a state road, where he is a passenger in a car. He requests the driver to pull over, gets out, and completely breaks down on the side of the road. According to Kimmel, the struggle, both creatively and financially, was light a country road that is in complete darkness. “This could have demanded a gr

Adam Kimmel recently Engaged in a Master Class in Cinematography, under Professor Dejan Georgevich in the School of Visual Arts (SVA) in New York . The class is generally one session lasting for about 3 hours. Kimmel, who has participated in this class previously, chose to reveal students, sections of two movies that he shot,”Capote” and”Never Let Me Go.” Both clips were out of the next acts of the movies. He explained the choices that he had to make and he left them, and then provided details regarding the factors that helped him arrive in those decisions. In”Never Let Me Go,” Kimmel explains that there was a sequence where one of the main characters discovers that the one thing he believed was keeping him alive, is not true. “He is destined to die soon and die young,” clarified Kimmel. It was as a night scene which happened out on a country road, where he is a passenger in a car. He asks the driver to pull over, gets out, and completely breaks down on the side of the street. Accord

Adam Kimmel recently participated in a Master Class series in Cinematography, under Professor Dejan Georgevich at the School of Visual Arts (SVA) in New York City. The class is generally one session lasting for about 3 hours. Kimmel, who has participated in this class previously, chose to show students, sections of two films that he shot, “Capote” and “Never Let Me Go.” Both clips were from the third acts of the films. He explained the choices that he had to make and why he made them, and then provided details about the factors that helped him arrive at those choices. In “Never Let Me Go,” Kimmel explains that there was a sequence in which one of the main characters discovers that the one thing he thought was keeping him alive, isn't true. “He’s destined to die soon and die young,” explained Kimmel. It was scripted as a night scene that took place out on a country road, where he is a passenger in a car. He asks the driver to pull over, gets out, and completely breaks down on the s

“This would have required a lot of costly equipment, so I proposed to the director, and then to the producers, to shoot the scene in that last little slice of dusk, when you can feel the day is gone but it’s not completely dark yet.” Said Kimmel, “To me, this felt more in tune with the emotion that the character is experiencing.” It would require that Kimmel and the team work with precision, and do all of the work in a short window of light. “I knew it would save on costs, and time, as long as we could pull it off.” As the cinematographer Adam had to convince the director and producers that shooting at dusk would add something fleeting to the scene, and be very powerful, even though they would have to work quickly. They agreed, and discussed what they would need to get it done. The plan was discussed with the actors, and Kimmel broke down and planned every shot with the Assistant Director to ensure they would have everything they needed, for every shot. Adam Kimmel, ASC 111 4th Ave, A