Neil OsemanShowreel

A Day in the Life of a DP

What does a cinematographer’s working day look like? Here’s a snapshot of last Wednesday, the fifth shooting day of six on a short film in south London. It’s a split day, with More »

Lighting Techniques #6: Cross-light

Cross-light is illumination which comes in from the side, raking across a surface. At this angle, every last bump and imperfection in a surface will cast a big shadow. Terrible for beauty More »

Why Make Films?

When I went freelance at the end of the last century, it felt like anything was possible.  If you had the talent, you could go out there and make a great short More »

The One That Got Away: Festival Results

In 2013 Katie Lake and I made a little puppet film for the Virgin Media Shorts competition, called The One That Got Away. Although it failed to make the shortlist, I believed it More »

Video-8

Now online in full, for the first time: my 2011 comedy documentary Video-8. It’s the hilarious story of me and my old schoolmates reuniting to watch a terrible, terrible feature film we More »

 

5 Tips for Successful Pick-ups

Recently I’ve been involved in pick-ups shoots for a couple of projects I lensed last year: action-comedy feature The Gong Fu Connection and fantasy series Ren. Both pick-up shoots were strange experiences,

A Day in the Life of a DP

What does a cinematographer’s working day look like? Here’s a snapshot of last Wednesday, the fifth shooting day of six on a short film in south London. It’s a split day, with

Stop/Eject Will Share a Screen with Back to the Future

Great Scott! My time travel short Stop/Eject (watch the trailer here) is set to share a cinema screen with the movie that made me want to make movies, Back to the Future.

Lighting Techniques #6: Cross-light

Cross-light is illumination which comes in from the side, raking across a surface. At this angle, every last bump and imperfection in a surface will cast a big shadow. Terrible for beauty

Cinemasogyny?

We’ve all seen old movies in which the ladies’ close-ups are shot through a soft focus filter. What may surprise you is that many DPs still do this, only the filters are

Distribution and the M&E (Music and Effects) Mix

While in Japan recently, I was finally able to get hold of that country’s version of my 2005 feature film, Soul Searcher. I thought this would be a good opportunity to talk

4 Cunning Substitution Effects in Labyrinth

After countless viewings on VHS and DVD over my lifetime, I finally got to see Labyrinth on the big screen today. The imagination and detail in this film are just astonishing. Every

5 Ways to Use LED Panels

LED technology is transforming the way cinematographers can light. Running off batteries and not getting hot are two of their biggest advantages over other sources, making them much more flexible. I tend

The First Musketeer: Lighting the Barracks

Creator Harriet Sams and some of The First Musketeer cast presented a panel at ExiliCon, a gaming and genre convention, last weekend, and their discussion of the Fumel scenes brought back some memories

Why Make Films?

When I went freelance at the end of the last century, it felt like anything was possible.  If you had the talent, you could go out there and make a great short