Issue 021 / September 2026 For people who make moving images

Cover Interview

Directing

“I stopped trying to make expensive-looking films.”

Director Mara Voss on rejecting polish, building stronger crews, and why limitations often create more memorable work.

DEVELOPMENT — PRE-PRODUCTION — CAMERA — LIGHTING — SOUND — EDIT — COLOR — DELIVERY — DEVELOPMENT — PRE-PRODUCTION — CAMERA — LIGHTING — SOUND — EDIT — COLOR — DELIVERY —

Craft

01 / Latest technical stories

Camera

The lens choices behind a deliberately claustrophobic frame

Why a 35mm lens stayed on camera for nearly an entire two-day shoot.

By Theo Martin

Edit

Cutting on emotion instead of continuity

Three editors explain why technically “wrong” cuts can make a scene land harder.

8 min read

Lighting

One source, one room, one entire visual language

A practical breakdown of using a single hard source for a music-video performance setup.

Lighting notes

Shot Breakdown

02 / How it was made

Music Video / Case Study

How “Glass House” was shot in one night.

Director: Ellis Moreau · DP: June Park · 14 setups · 9 hours

People to Know

03 / Directors, DPs, editors, producers

Director · Paris

Clara Venn

Narrative / fashion / music video

DP · Berlin

Jonas Vale

16mm / low-light / documentary texture

Editor · London

Amara Reed

Music / commercials / short film

Producer · Manila

Leo Cruz

Independent production

Industry / Career

Making the work is only half the job.

Practical stories about representation, budgets, pitching, crew-building, contracts, festivals and getting hired again.

How directors actually get signed by production companies

Career

What should a music-video treatment include in 2026?

Pitching

Producer rates, director fees and where the budget disappears

Money

Five festivals worth attending even when you are not screening

Networking

When a tiny crew is smarter than a full production

Production