A car interior set-up from David Fincher’s Netflix film Mank, shot on stage with LED screens to provide backgrounds and interactive lighting. Here’s Mank cinematographer Erik Messerschmidt on his approach to […]
Year – 2008 Decade – 2000s Cinematographer – Matthew Libatique (imdb link) Director – Jon Favreau Aspect Ratio – 2.40 Distributor – Paramount; Marvel Genre – Action; Super Hero Cameras […]
Year – 1982 Decade – 1980s Cinematographer – Gerald Feil Director – Steve Miner Aspect Ratio – 2.39 Distributor – Paramount Genre – Horror; Slasher; 3D Format – 35mm Categories […]
Year – 2020 Decade – 2020s Cinematographer – Lol Crawley Director – Antonio Campos Studio – Netflix Aspect Ratio – 2.40 Genre – Drama; Period (1960s) Camera – Arricam LT […]
Year – 1988 Decade – 1980s Cinematographer – Bill Butler Director – Tom Holland Aspect Ratio – 1.85 Distributor – MGM/United Artists Genre – Horror; Slasher Format – 35mm with […]
Year – 1981 Decade – 1980s Cinematographer – Dean Cundey Director: Rick Rosenthal Aspect Ratio: 2.39 Genre: Horror; Slasher Lenses: Anamorphic Format: 35mm Categories: Foreground/Background; Car Shots; Lens Flares; High […]
Year – 1978 Decade – 1970s Cinematographer – Dean Cundey Director – John Carpenter Aspect Ratio – 2.39 Genre – Horror; Slasher Camera – Panavision Panaflex Lenses – Panavision C-Series anamorphic lenses Format – 35mm; Anamorphic Categories – Title Cards; Two Shots; Vanishing Point […]
I’ve got a new interview up over at Filmmaker Magazine with freshly-minted Emmy winner Greig Fraser. The Mandalorian cinematographer walked me through using new StageCraft tech – a greenscreen alternative […]
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