Annelise Vogt

What a week on a mountain riverbank for Dust and Daylight taught us about tents, weather, small crews and carrying less than you think you need.

Why slates, scene and take discipline and proper sound sync still matter on a digital set, and how we run them on every Offscreen shoot.

Yuna Sato and cinematographer Ama Boateng on lighting interiors with practicals for The Long Field and Signal, and why they rarely bring a light the audience cannot see.

Yuna Sato's short about a woman walking out across a winter snowfield has its world premiere this week as an Official Selection at Northlight Film Festival.

Colourist Eun-ji Park on building the look of Night Drive for Halden: two colours, one face, deep blacks and four nights of Manchester rain made to match.

The Berlin-based documentary director behind Low Water joins Offscreen for long-form, branded and commercial work, represented by both our London and Los Angeles offices.

Mara Okonkwo on street casting non-actors for Twelve Rounds, from gym noticeboards and casting tapes to contracts, consent and the first day on set.

A director's treatment is a promise about a film, not a description of it. Hannah Reyes on what a good one does, what it should never try to do, and how we read them.

Editor Daniel Okafor on one week of cutting Feedback, Kofi Mensah-Hart's tour film with The Lowlands, from 300 hours of rushes to a seventy-two minute film.