befores & afters

7 stories

befores & aftersCinemaThe Pedestrian, Mutant Bryan and all the crazy creatures in Zach Cregger’s ‘Resident Evil’ A deep dive into the visual effects of the film with production VFX supervisor Alessandro Ongaro and Wētā FX.

11.05

befores & aftersCinemaAutodesk releases extended cut of behind the scenes ‘The Cat in the Hat’ video Part of the ‘Made to Make’ series. This extended cut of Autodesk’s series ‘Made to Make’ looks further at Warner Bros. Pictures Animation’s work on the animated feature The Cat in the Hat.

11.05

befores & aftersCinemaNew VFX Notes episode on the visual effects of ‘Sinners’ All the big shots, sequences and technologies covered. Hugo and Ian take a deep dive into the visual effects of VFX Oscar-nominated Sinners , including behind-the-scenes looks at the practical makeup…

11.05

befores & aftersCinemaLaika animator breaks down work on ‘Wildwood’ Animator Tilly Fidler goes behind the scenes.

11.03

befores & aftersCinemaWētā FX showcases ‘Moana’ work Go behind the scenes with these two videos.

10.30

befores & aftersCinemaCaleb Deschanel interview on ‘Wildwood’ Director Travis Knight chats to his cinematographer.

10.29

befores & aftersCinemaOn The Set Pic: ‘The Hunger Games: Sunrise on the Reaping’ Jesse Plemons and director Francis Lawrence on set. Photo Credit: Murray Close. © 2026 Lionsgate

10.29

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo