A Message from President Thomas Schlamme

NYC location managers do more than scouting and securing permits: They also iron out the logistics while keeping city leaders and residents happy.

What drove over $400 million in revenue for Guild members in the last year alone, including over $70 million to the DGA's Basic Pension Plan? Residuals.

The global market for SVOD programming is outpacing North America, and having a profound impact on the future of the film and television business.

At CES 2019, 5G—the fifth generation of cellular technology—was heralded as the solution for glitchy entertainment connections, and, for entertainment companies, a way to extend their reach and lure new audiences. We separate the wheat from the chaff.

Faced with TV technology that casts their films in a distorted light, DGA members attempt to influence a more faithful representation of their work.

For students and teachers in the DGA's First-Time Episodic Director Orientation Program, no detail is too small.

As streaming services proliferate and court A-list filmmakers, the DGA Quarterly asked feature directors and industry leaders how directors intend for their films to be exhibited and what defines a theatrical film experience in 2018?

Eight years later, we find ourselves asking: "Why shouldn't net neutrality apply to the entire Internet?"

Following in the footsteps of Netflix, Amazon and Hulu, networks like CBS, AMC and FX are getting into the custom streaming game, with exclusive content a primary selling point.

With Big Tech becoming increasingly invasive on our economy and private lives, we look at how antitrust battles of the past are relevant to the present, and the consequences of a monopolistic world on entertainment.

Given that in the new millennium, consumers access TV programming in myriad ways, we present a thorough rundown of how DGA members' content is delivered to viewers.

With its wealth of experienced crews, physical looks and soundstage infrastructure, Georgia's capital is gaining stature as the production hub of the South.

Razor-sharp resolution and higher frame rates challenge directors to think out of the box.

A 30% tax incentive, top-notch soundstages and crews, and eye-catching locations make the windy city an attractive alternative.

TV directors speak out on their role in the process even as remote online methods threaten to push them "out of the room."

Tech talk with Director Ang Lee.

As the technology emerges and becomes more affordable, directors are venturing into virtual reality as a new way of storytelling—with the viewer in the middle

The director rallied Hollywood to preserve the option to shoot on film. And it’s not just about the art—it makes good business sense.

With Netflix, HBO, Amazon Prime, and many others following suit, subscription video-on-demand is the new wave for content. But is it supplanting television as we know it, or a boon to production? It’s still too early to tell.

With The Hobbit trilogy Peter Jackson will introduce audiences to a 3-D film shot at 48 FPS. Depending on the response, it could open a whole new dimension for directors.

Jon Avnet and Rodrigo Garcia's new Internet Channel WIGS is creating Web content for the female audience.

When pay cable TV was in its infancy, the Directors Guild stood up to HBO, and after an eight-year battle, secured the creative and economic benefits members enjoy today.

New apps for the iPhone and iPad designed for filmmakers.

The problem of long hours and worker safety is perhaps as old as the industry. Despite greater awareness, education, and various cautionary measures, it remains a complex, hard to solve issue.

Manufacturers are marketing 3D TV sets in hopes that content will follow. In the meantime, directors are learning the ropes with sports and live concerts.

More and more new devices are speeding the movement of content from your computer to your TV set. Has the wave of the future finally arrived?

After working on a film for years, the last hurdle for directors is selling it to an audience. But sometimes that’s a process they have to fight to be a part of.

Panavision's Genesis and the independently made RED ONE are two of the hottest digital cameras around. We asked directors about the pros and cons of each.

Previsualization is becoming an increasingly valuable tool for directors on large-scale films. But could it also benefit indie directors?

Directors are having fun creating content for the web-but are they making any money? Five Guild members relate their experiences.

Cutbacks and a shrinking market have left the indie world in a quandary. So what's a director to do?

New luxury theaters are featuring high-end amenities. But does this enhance or detract from the moviegoing experience?

Eventually we will be able to connect our computer to our TV, but not just yet.

Content is booming on the Internet almost daily. In our ongoing look at developments in new technology, we sort out some of the ways film and TV are reaching a new audience.

The Think Tank of the Independent Directors Committee is asking big questions about how indie directors can reach an audience in the Web 2.0 era.

Everything you wanted to know but were afraid to ask. In the first of an ongoing series we break down changes in entertainment and the way film and TV will be delivered.

3-D is roaring back-and it's not the clunky, campy version from the '50s. With new technology, 3-D is becoming a serious tool for filmmakers.

The Cannes Film Festival, celebrating its 60th anniversary, has long been friendly turf for American directors.

Film preservation used to be for old films. Not anymore. In the digital age, directors need to take responsibility for saving their own work.

As technological changes go, nothing can top the advent of television. Here's what it was like for its early directors.

HD-DVD and Blu-ray may be battling it out for years for a share of the high-definition DVD market.

After years of wrangling, digital exhibition is about to arrive. Is it the biggest thing since talkies?

These are not your father's documentaries. Digital technology has revolutionized the form and content of non-fiction films. But does that make them better?

The DGA addresses the controversy surrounding smoking in the movies.

In addition to providing artistic recognition for exemplary work, possessory credits in filmmaking are branding and marketing tools that are individually negotiated by the director with the company producing the film.

A big-budget adventure film, such as Around the World in 80 Days, can have hundreds of visual effects shots. Using this as an example, we explore managing the production of VFX work.

Distribution of one's film comes up time and again as a concern for the independent filmmaker. Here is one expert's perspective on approaches to consider when thinking through different options.

In New York, the DGA is actively seeking to erase the enormous myth of the Big Apple being rotten for filmmakers. That's just not so, say veteran feature and television directors who regularly shoot here.

At a DGA seminar, the fastest growing editing system, Apple's Final Cut Pro, was explained, for those interested in learning about making the change from Avid to a cheaper, and, in some cases, more flexible system.