IndieWire Craft

12 stories

IndieWire CraftCinemaWhy ASMR Invaded the Soundscape of ‘La Bola Negra’ Supervising sound editors Alejandro López and Anna Harrington tell IndieWire about using sound to toggle between timelines in "La Bola Negra."

11.05

IndieWire CraftCinemaThe Mad (Color) Science Behind Rian Johnson’s New Camera App Steve Yedlin talks to IndieWire about designing the Chromagraph app and bullying the iPhone camera to behave more cinematically — with math!

11.03

IndieWire CraftCinemaProducer Titles Can Be Bought, but Real Creative Producers Take Them for Themselves Producers Alison Owen, Carla Hacken, and Lauren Miller Rogen tell IndieWire about the importance of persistence in bringing films and TV shows to life.

11.01

IndieWire CraftCinemaThe Arcane Knowledge Directors Wish They Could Summon As part of SCAD Savannah Film Fest's Behind Their Lens panel, directors like Sophy Romvari and Kenna Harris told IndieWire about the areas of filmmaking they'd love to explore more.

10.31

IndieWire CraftCinemaArtisans Break Down the Tricks and Treats of Designing a Trojan Horse at SCAD Savannah Film Festival Production designer Ruth de Jong, editor Sarah Broshar, and costume designer Amy Roth tell IndieWire about the hidden touches they've built into their crafts.

10.31

IndieWire CraftCinemaHow ‘The Only Living Pickpocket in New York’ Used Vintage ‘Godfather’ Lenses to Capture NYC on Location Cinematographer Sam Levy tells IndieWire about designing a throwback look for "The Only Living Pickpocket in New York" with help from special Gordon Willis lenses.

10.26

IndieWire CraftCinemaYes, That’s a Wicker Penis: Inside Alexander Skarsgård’s Wild ‘Wicker’ Transformation And yes, those are also wicker nipples.

10.23

IndieWire CraftCinemaWhen VFX and Practical Sets Work Together, Sometimes You Invent New Cameras "Whalefall" production designer Ramsey Avery tells IndieWire about the collaboration that led the filmmaking team inside the belly of a whale.

10.21

IndieWire CraftCinemaAfter ‘You Can See Everything,’ What’s Next for ‘The Rehearsal’? For "You Can See Everything," Nathan learned it from watching Nathan.

10.20

IndieWire CraftCinemaThe Costumes Are Why ‘Your Mother Your Mother Your Mother’ Is a Movie Unlike Any Other Costume designer Deirdra Govan tells IndieWire about how meticulous research and cultural love led to costumes as expressive as they are beautiful.

10.20

IndieWire CraftCinemaKen Russell’s ‘The Devils’ Use Sets Unlike Any Other Period Film Production designer Derek Jarman's sets in "The Devils," now gloriously restored, help make the past happen over and over again — now.

10.19

IndieWire CraftCinemaCan AI Make a Sci-Fi Series for $38,000? Artlist’s ‘The Arc’ Puts It to the Test Your scientists were so preoccupied with whether they could that they didn't stop to think about whether they should.

10.16

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