Latest in Production Value

“Being a little boy in Texas, when you see Star Wars and Bladerunner, that’s the first time I actually looked at the credits and saw the concept artist and all the people behind the scenes,” says production designer Bruton Jones. “That’s what I wanted to do and there was no looking back.” When he was brought in to…

At the beginning of his career, Julio C. Perez IV wasn’t sure what part of filmmaking he wanted to pursue, until he found his place in editing. “I love almost every facet of making a film, but with editing I was fully absorbed,” he says. “I felt the beautiful connection to image, sound and rhythm that I didn’t in any…

“I just always felt like sound, and sound design, and sound effects, and creating a world of sound was something that was really, really attractive to me,” says sound designer Craig Henighan. His love of sound started at a young age. Since his dad played in bands, Henighan was always able to find microphones and tape…

Costume designers Diego Montoya, Joshua “Domino” Schwartz and Casey Caldwell were all working in the fashion and costume industry for a while before getting involved with We’re Here. Montoya began in fashion before moving to drag costume design once that became its own industry, but both Domino and Caldwell began…

“I started out doing creatures,” says VFX supervisor Dadi Einarsson about his career which started in the early ’90s. He was inspired by the creatures in what he calls the “early tentpole cg-visual effects films,” like the water creature from Abyss and the dinosaurs in Jurassic Park. “Then for a number of years I was…

Cinematographer Mike Pepin fell in love with operating a camera as soon as he was given a chance. “Once I got that camera on my shoulder,” he says, “and I had a subject or story in front of me, it became an extension of my imagination… and it was kind of magical to me.” That passion was ignited as he began his career…

After working together on Shrill and The Republic of Sarah, composers Anna Waronker and Craig Wedren were looking for something new and creepy. When the chance to score Showtime’s Yellowjackets came to them, the duo immediately jumped on it. Both Waronker and Wedren were in bands before they started to work together…

For Only Murders in the Building, production designer Curt Beech was inspired by his background in theater to create the apartments of the main characters. As a former theater teacher, Beech knew he could make use of his skills to tell each character’s story through the visual design of their apartments. The series…

While Dominique Dawson didn’t plan to be a costume designer at first, she found it allowed her to connect more with the story and characters. “I actually went to NYU for directing,” says Dawson, “and while I was directing I just became so drawn to the story that the clothing was telling.” Based on the comics of the…

As soon as Carl Herse heard the premise of The Afterparty, he knew he had to be involved. The series showcases what Herse says is his favorite aspect of his job, “the subtlety of cinematography and how visuals can support a story that changes tone and takes you from a place of drama and tragedy to a place that’s silly…

On Encanto, composer Germaine Franco was tasked with crafting a score that didn't sound like “traditional Disney”—one that would capture "the rhythms" of Colombia, and the qualities of magical realism. Franco says that when she was first approached for the project from directors Jared Bush and Byron Howard, with songs…

While Hans Zimmer long ago established himself as one of cinema's most accomplished and influential composers, he’s continued in recent years to push boundaries and see what he can learn, finding the perfect opportunity to do so in Denis Villeneuve’s Dune. On the sci-fi epic from Warner Bros. and Legendary Pictures…