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‘Shōgun’ Editors Maria Gonzales And Aika Miyake On Authenticity, Highlighting Characters & “Keeping Up The Pace” – Production Value
For FX's adaptation of James Clavell's 1975 novel Shōgun, it was essential for series creators Rachel Kondo and Justin Marks to focus on authenticity in every department. "It was really important for Justin [Marks], the showrunner, to find someone who grew up in Japan, had an authentic Japanese…
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By Ryan Fleming
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‘The Crown’ Cinematographer Adriano Goldman On Coming “Full Circle” With The Finale: “It Was Just The Very Perfect Ending” – Production Value
After working on 28 episodes over six seasons of The Crown, including both the pilot and finale, cinematographer Adriano Goldman couldn't be happier with how much it's changed his life. "It's just a joy to be able to say I did the very first one and the very last one, so its full circle for me and…
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By Ryan Fleming
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‘Hacks’ Costume Designer Kathleen Felix-Hager On Keeping Deborah Vance’s Look “Vibrant And Alive” – Production Value
As she began her work on Hacks, it became quickly apparent to costume designer Kathleen Felix-Hager that perfecting the look of Deborah Vance was an immediate priority. "I'm really proud of the collaboration between Jean [Smart] and I, and Paul [W. Downs] and Lucia [Aniello] in creating this character,"…
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By Ryan Fleming
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‘Lessons in Chemistry’ Composer Carlos Rafael Rivera On Why Elizabeth’s Melody Goes To “Unexpected Places” – Production Value
When composer Carlos Rafael Rivera joined Lessons in Chemistry, the tone of the score was not fully realized yet. "When I came on, the idea that was proposed was to take something very against the time and the tone of the story," he says. "It wasn't really working, but the experience itself was good…
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By Ryan Fleming
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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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