One Night in Miami cinematographer Tami Reiker
New interview up over at Filmmaker Magazine with One Night in Miami cinematographer Tami Reiker (High Art, The Old Guard). Shot on Arri Alexa 65’s and Arri DNA lenses. The […]
Wonder Woman 1984 cinematographer Matthew Jensen on IMAX, practical stunts, and his love of Panavision Primos
I’ve got a new interview up over at Filmmaker Magazine with Wonder Woman 1984 cinematographer Matthew Jensen. The super hero sequel was shot on a multitude of formats, including: 35mm […]
Mank cinematographer Erik Messerschmidt
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 […]
Frame By Frame – Iron Man (2008)
Year – 2008 Decade – 2000s Cinematographer – Matthew Libatique (imdb link) Director – Jon Favreau Aspect Ratio – 2.40 Distributor – Paramount; Marvel Genre – Action; Super Hero Cameras […]
Frame By Frame – Friday the 13th Part III (1982)
Year – 1982 Decade – 1980s Cinematographer – Gerald Feil Director – Steve Miner Aspect Ratio – 2.39 Distributor – Paramount Genre – Horror; Slasher; 3D Format – 35mm Categories […]
Frame By Frame – The Devil All the Time (2020)
Year – 2020 Decade – 2020s Cinematographer – Lol Crawley Director – Antonio Campos Studio – Netflix Aspect Ratio – 2.40 Genre – Drama; Period (1960s) Camera – Arricam LT […]
Frame By Frame – Child’s Play (1988)
Year – 1988 Decade – 1980s Cinematographer – Bill Butler Director – Tom Holland Aspect Ratio – 1.85 Distributor – MGM/United Artists Genre – Horror; Slasher Format – 35mm with […]
Frame By Frame: Halloween 2 (1981)
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 […]
deep fried movies 