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Peele and cinematographer Hoyte van Hoytema tell IndieWire about making the first horror movie shot in IMAX.

Line producers, production supervisors, production assistants and others on TV commercials are seeking to join the crew union IATSE after the pandemic exerted new pressures on their department and showed "all the cracks in our system," says one supporter.

Members of the Animation Guild, IATSE local 839, have voted overwhelmingly to ratify a new film and TV contract with the Alliance of Motion Picture and Television Producers. The vote was 87% in favor of ratification. According to the guild, the number of members who voted more than tripled since the last ratification vote.

In recreating Elvis Presley’s famous ’68 Comeback Special, “Elvis” cinematographer Mandy Walker spent hours watching and examining old footage to faithfully reproduce certain shots and lighting changes for Baz Luhrmann’s biopic.

The DPs reveal their approaches to lensing their vivid series.

In January, The Animation Guild announced a twofold breakthrough: By unionizing Harriet the Spy studio Titmouse New York, the IATSE local had not only initiated an expansion outside of Los Angeles County, it had also organized production staff for the first time in recent history. Since then, TAG has unveiled new organizing campaigns of production workers at a rate of practically one a month — at the shows Rick and Morty and Solar Opposites, at studios Titmouse L.A. and ShadowMachine and, on June 2, at The Simpsons, Family Guy and American Dad! (Before organizing production staff, TAG represented a number of animation workers at these latter employers.)

 President Joe Biden told the largest federation of labor unions on Tuesday that he’s working to rebuild the U.S. economy around workers, an attempt to draw a contrast with Republicans who have increasingly attracted blue-collar votes.

A retrospective at the Museum of the Moving Image looks at a career filled with sublime images made at a time of strong anti-Asian sentiment in Hollywood

he “Passive Aggressive” Approach To Filming Mockumentaries & The Lessons He Learned On ‘The Office’ – Production Value