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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 Bennett Miller project. Those interested in learning more about Adam Kimmel can read the article published by Jax Media on their blog. It contains the essential part of the interview, along with additional comments from other members of the production. More information is also available here: Adam Kimmel American Cinematographer. www.streetinsider.com/Press+Advantage/Director+Of+Photogr... https://flic.kr/p/2izHPzg

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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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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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