WHAT/IF
On Netflix May 24th

Created by Mike Kelley
LJ Houdyshell | Production Designer

THE TOMORROW MAN
Now In Theaters

Directed by Noble Lincoln Jones
Nicolaas A. Bertelsen, PGA | Producer

REEBOK | Club C

Directed by Tom Noakes
Larkin Seiple | Director of Photography
Jason Hougaard | Production Designer

ANIMAL KINGDOM | S4
On TNT May 28th

Created by Jonathan Lisco
Ian S. Tan | Editor

POLAR
Now on Netflix

Directed by Jonas Åkerlund
Pär Ekberg, FSF | Director of Photography

RIM OF THE WORLD
In Theaters May 24th

Directed by McG
Shane Hurlbut, ASC | Director of Photography

MERCEDES BENZ x NICK FOUQUET
Marco Polo

Directed by Vincent Urban
Jann Doeppert, FNF | Director of Photography

THE HANDMAID'S TALE | S3
Returns June 5th

Directed by Colin Watkinson
Colin Watkinson, ASC, BSC | Director of Photography
Zoë White, ACS | Director of Photography

EUPHORIA
On HBO June 16th

Created by Sam Levinson
Kay Lee | Production Designer

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UPCOMING RELEASES

ANIMAL KINGDOM | S4

ANIMAL KINGDOM | S4

Ian S. Tan
Editor


On TNT May 28th

ALWAYS BE MY MAYBE

ALWAYS BE MY MAYBE

Richard Toyon
Production Designer


On Netflix May 31st

SWAMP THING

SWAMP THING

Nate Goodman
Director of Photography

Peter Kowalski
2nd Unit Director of Photography

Mark Stevens
Editor

Michael Goi
Director [Episode]

On DC Universe May 31st

PERPETUAL GRACE, LTD

PERPETUAL GRACE, LTD

Jimi Whitaker
Director
Director of Photography

Nicole Whitaker
Director of Photography


On EPIX June 2nd

THE HANDMAID’S TALE | S3

THE HANDMAID’S TALE | S3

Colin Watkinson, ASC, BSC
Director of Photography

Zoe White, ACS
Director of Photography


On Hulu June 5th

TALES OF THE CITY

TALES OF THE CITY

Lester Cohen
Production Designer


On Netflix June 7th

DESIGNATED SURVIVOR | S3

DESIGNATED SURVIVOR | S3

David Harp
Director of Photography


On Netflix June 7th

JETT

JETT

Cale Finot
Director of Photography

Kat Landsberg
Line Producer


On Cinemax June 14th

PRESS

20 Cinematographers You Should Know at Cannes 2019

By | Awards, Clients, News | No Comments

 

“Malick wanted us to be explorers, able to shoot like a documentary crew, mostly with natural light,” Widmer told IndieWire. “We were always looking for backlight, for which we needed lightweight cameras with lenses, which could take a lot of contrast without flaring and with a huge range of latitude. The actors should be able to move quite freely and keep their energy. We prepared the cameras in a setup, which allowed us to change from steadicam to slider or handheld in less than a minute. The takes could last from four to 40 minutes without a break. In interiors, we switched to the low light camera to capture as much as possible of the dark interiors in the rural homes, stables and prison cells.”
See the full list here.

Cinematographer Pär M. Ekberg Translates a Graphic Novel Into a Visual Extravaganza for Netflix Feature Film POLAR

By | Clients, News | No Comments

“We knew early on that we didn’t want to make it seem silly or stylized in the wrong way, but we still wanted to put elements of the graphic novel into the film,” reveals [cinematographer Pär Ekberg, FSF]. “We tried to find that balance with different references, as well as a lot of discussions and tests. If you look at these graphic novels, images are graphically presented in colors and composition but also through collageson each page where you might go from an extreme close-up of a face to a wide landscape. That kind of storytelling where it’s pieced together with different, dramatic sizes of scope. I think that was the big inspiration I received from reading the novel.”

Read the full interview here.

Editor Jim Helton Tops AICP Post Awards With New York Times Campaign

By | Clients, News | No Comments

“Editor Jim Helton of Final Cut won the Best in Show at the AICP Post Awards gala celebration held this evening (5/16) at Navy Pier in Chicago. Helton took the honor for his moving, dynamic editorial approach to a campaign for The New York Times. Consisting of three spots–“Perseverance,” “Rigor” and “Resolve”–the work also won Helton honors in the Editorial: National Campaign and Best of East categories.” 

Read the full article here.

Film Editor Brad Turner on Cutting HBO’s Updated NATIVE SON

By | Clients, News | No Comments

[Studio Daily:] Johnson is a first-time director but a well known conceptual artist who works in a variety of styles and media. In what way did he bring that sensibility to this film?

[Brad Turner:] I did some research before I met him and had become, before we even had our meeting, a fan of his art. I was very curious about his process. His art was the first thing we talked about when we met because it was surrounding us in his studio. He explained to me that he makes what he calls “cosmic slop,” which is a reference to a George Clinton and Funkadelic album. I’m a huge George Clinton fan. We did speak at length how he wanted to employ his aesthetic sensibilities in the movie. He worked with production designer Akin McKenzie on populating the film with not just his art but with other contemporary artists, like Amy Sherald, who painted Michelle Obama. His painting Anxious Man hovers behind Big when he meets Mr. Dalton in his home, for example. The film is inundated with these artistic references, and I think Rashid wanted to dig into the ways our society has evolved since the book was written and the ways it has stayed the same. And I think you can track a lot of that through the art that is hidden in the film. A lot of it is pretty subtle but it was one of the reasons he wanted to make the movie from the very beginning — to sneak all that stuff in. The scene in Dalton’s home office was such a blast to edit. It’s just this confluence of very different cultures and subtle communication that produces a ton of subtextual conflict. The tension in that scene is pretty palpable and also a really fun one to cut.

 

Read the full interview here.