Skip to main content

Directory of Photography New York NY | Adam Kimmel Call 929-323-


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 follow the lead of the participants. Learn more here: Adam Kimmel Cinematographer. Many attendees of the ICG workshops wanted to build their proficiency in the related technical knowledge while also honing the more aesthetic concerns and artistic choices that are paramount to the Cinematographer's role. Kimmel's experience and ability to tackle the challenges of interpreting a script visually while incorporating the point of view of a director, and to convey this to the crew was reinforced through the discussion. www.pressadvantage.com/story/34506-adam-kimmel-cinematogr... https://flic.kr/p/2izFkNC

Labels

Labels:

Comments

Post a Comment

Popular posts from this blog

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...
Post a Comment
Read more

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...
Post a Comment
Read more

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...
Post a Comment
Read more