A Free Online Event Offering Cinematography Knowledge from World-Class DPs | No Film School

From January 20th to 21st (next Tuesday and Wednesday), Big League Film School will host its annual cinematography summit. Aptly named the Big League CineSummit, the unique online event brings a host of working narrative and commercial DPs, ranging from Frankie DeMarco (the cinematographer behind the first season of Mad Men and All Is Lost) to Shane Hurlbut, who needs no introduction around these parts. Each of the guests will be presenting on a topical aspect of cinematography and offering practical tips that viewers can use in their own work.

Here's the trailer for this year's summit.

Curious as to what kind of material you'll be learning at the Big League CineSummit? Here's a preview that features our good friend Matt Workman, who recently put together an awesome series of videos about operating and designing camera moves for the Technocrane. In this video, Workman talks about both the importance of composition and how different tools can affect camera movement.

The catch in all of this is that these presentations are only free if you watch them live during the middle of next week. If you'd like additional access to them so that you can watch them on your own schedule and at your own pace, well, that's going to cost you about $100 (as of this writing). Depending on the educational value and quality of the presentations, which I expect to be good considering the top notch DPs who are presenting, that price could very well be a worthwhile investment.

If you're interested in learning more about and attending the Big League CineSummit, head on over to their website to get all of the details about who is presenting and what they'll be talking about.

Source: Big League CineSummit

Matt Workman shanehurlbut big league film school big league cinematography summit Camera Movement lighting webinar

What's the Hype With 'Interstellar' Revisiting Cinemas After a Decade in 70mm IMAX?

Here's Why You Need to Revisit 'Interstellar' in 70mm IMAX

Celebrate the love and hope at the center of Nolan's space epic in the format it was meant to be seen.

If we know anything about Christopher Nolan, he likes to go big. Nolan started with smaller-scale stories (as many of us do) with early noir adjacent works like Following, Memento, and Insomnia, then started going and staying big with his illusionist drama The Prestige. Since then, the scale has been various degrees of massive, with the biggest scope in his time-and-space sprawling epic, Interstellar.

While Interstellarmight not be everyone's favorite Nolan outing, there's no denying it's an impressive feat of filmmaking and his most emotional—if watching Matthew McConaughey's Cooper desperately try to reach his family through quantum space-time doesn't make you cry at least a little bit, what's going on, dude?

With Interstellar'sIMAX release, it's a great time to shed some tears in a public setting in one of the most prestigious film formats around. As we mentioned in our film gauge piece, Nolan loves shooting on film and utilizes 65mm intentionally to provoke a tone of massive scale. In that regard, Interstellar was made for 70mm IMAX. That goes without saying, dawg. That being said, other factors make Interstellar a perfect movie to revisit in theaters while you can.

Let's break down the release further below.

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