Interviews
Lighting a room with one lamp
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
Interviews
Conversations with directors, crew and collaborators about how they work.
Notes from a river shoot
notes-from-a-river-shoot
Behind the scenes
Samir Haddad
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.
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The clapperboard is not a prop
the-clapperboard-is-not-a-prop
Craft
Theo Lindqvist
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.
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Lighting a room with one lamp
lighting-a-room-with-one-lamp
Interviews
Yuna Sato
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.
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The Long Field premieres at Northlight Film Festival
the-long-field-premieres-at-northlight
News
Hannah Reyes
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.
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Grading Night Drive
grading-night-drive
Craft
Eun-ji Park
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.
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Annelise Vogt joins the roster
annelise-vogt-joins-the-roster
News
Marcus Bell
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.
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Casting real people
casting-real-people
Craft
Mara Okonkwo
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.
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What a treatment is for
what-a-treatment-is-for
Craft
Hannah Reyes
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.
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A week in the edit of Feedback
a-week-in-the-edit
Behind the scenes
Daniel Okafor
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.
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