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‘Silo’ Editor Hazel Baillie On Slow-Rolling Reveals & Editing The “Going Out” Sequences: “It’s A Difficult Balance”- Production Value
"I really wanted to be lead editor on this, because I loved it so much," says Silo editor Hazel Baillie. "I loved episode one so much, but I also thought for a big sci-fi show, it's not common [to have] a female lead editor."
Apple TV+'s Silo takes place in a dystopian future where a community of…
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By Ryan Fleming
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‘The Crown’ Hair & Makeup Designer Cate Hall On Evolving The Period By Cycling “Through The Eras, Even Within One Season” – Production Value
As the hair and makeup designer of The Crown for four seasons, Cate Hall has seen her work evolve over the course of the series. "We really consciously cycled through the eras, even within one season," she says. "We were almost modern by the end of season 6, so as we were going along, you're seeing…
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By Ryan Fleming
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‘Lessons In Chemistry’ Cinematographers Jason Oldak & Zachary Galler On Subtlety In Filming & Staging A ’60s Cooking Show – Production Value
"An interesting thing about this limited series is that it chronicles this woman's life," says cinematographer Jason Oldak. "Even the episodes that Zack and I did… they're in different places in her life and substantial things happen, and I think it gave us the freedom to give our own voice while keeping…
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By Ryan Fleming
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‘Fallout’ Costume Designer Amy Westcott On Following The “Skeleton Of The Game” & Elevating The Style – Production Value
"The more I researched the game, the more excited I got about the prospect of working in that world and doing something like this," says Fallout costume designer Amy Westcott. "I was up for the challenge of making it good enough for the fans, for the gamers, for the people who are really into…
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By Ryan Fleming
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‘Game Changer’ Editor Sam Geer On How Directing Has Helped The Edit & Being Adaptable : “We’re Always Trying To Raise The Bar” – Production Value
“Every season of Game Changer, I get a little more nervous because I know we’re always trying to raise the bar,” says Game Changer editor Sam Geer. “It’s like, ‘How high can you raise the bar before it’s insurmountable?’ But we keep meeting our own goals, so hopefully whatever comes next will be a…
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By Ryan Fleming
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‘Abbott Elementary’ Hair Dept. Head Moira Frazier & Makeup Dept. Head Constance Foe On Creating Janine’s New Look While Staying “True To The Character” – Production Value
“I do have a very, very fast turnaround in Hollywood,” says hair department head Moira Frazier. “I can do it in a day. Same-day hairlines for me.”
That level of skill was essential for this season, when the resolution of the cameras was upgraded to 8K. “I had to make sure that every wig that I…
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By Ryan Fleming
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‘3 Body Problem’ VFX Supervisor Stefan Fangmeier & VFX Producer Steve Kullback On The Visually Complex Series: “There Was A Little Bit Of Everything” – Production Value
"The interesting thing for me, creatively for 3 Body Problem, was that there was a wide range of work," says VFX supervisor Stefan Fangmeier. “There was a little bit of everything – we did the VR game, we did other recreations, obviously slicing the tanker, but there was also a little bit of creature work…
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By Ryan Fleming
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‘Shōgun’ Costume Designer Carlos Rosario On “Going Straight To The Paintings” For The Aesthetic Of The Period – Production Value
"The most important thing was for me just understanding the Japanese aesthetic," says costume designer Carlos Rosario. "[It was about] respecting the Japanese culture, being as accurate as possible and understanding the language of the clothing of that period."
Based on the 1975 James Clavell novel, S…
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By Ryan Fleming
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‘A Gentleman In Moscow’ Production Designer Víctor Molero On Creating A Labyrinthine Hotel For The Count’s Journey: “When You Get Lost, It’s The Best Way To Find Yourself” – Production Value
"The real Metropol hotel was built in 1905, and they took five years to build it," says production designer Víctor Molero. "Of course, we didn't build the whole hotel, but we built many different places, and we built it in five months."
Based on the novel by Amor Towles, A Gentleman in Moscow stars…
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By Ryan Fleming
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‘Avatar: The Last Airbender’ Composer Takeshi Furukawa On Researching Pan-Asian Instruments For The Orchestral Score: “The Mechanics Are Very Different” – Production Value
"I was a bad student of classical piano because I would start changing stuff, so I think in that sense I was always kind of 'composing' when I was a horrible student," jokes composer Takeshi Furukawa. "For classical music, you have to be faithful to the composer's intent… and I was not that."
Based…
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By Ryan Fleming
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‘Black Bird’ Cinematographer Natalie Kingston On Restraining The Camera Movements To Highlight The “Dark Dialogue” – Production Value
“There’s a lot of very tense, heavy scenes with a lot of dialogue,” says cinematographer Natalie Kingston. “A lot of the times, it was about restraint. It was about not moving the camera and just letting the audience sit uncomfortably in this tense, awkward, creepy conversation… Sometimes when you don’t…
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By Ryan Fleming
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‘Guillermo Del Toro’s Cabinet of Curiosities’ Main Title Designers Chet Hirsch & Mike Schaeffer On Using Recursion to Create A Visual “Overture” – Production Value
“[Main title sequences are] a way in, and a way to separate where you’re headed from where you've been,” says main title director Chet Hirsch. “I love that idea of it serving as an overture, and trying to make it [so] you really enjoy how you reach this story that you're ready to see.”
Guillermo del T…
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By Ryan Fleming
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