CREED II
In Theaters Nov 21st

Directed by Steven Caple Jr.
Saira Haider | Editor

ARIANA GRANDE | Breathin

Directed by Hanna Lux Davis
Christopher Probst, ASC | Director of Photography

PATRIOT S2
Now on Amazon Prime

Directed by Jimi Whitaker
Jimi Whitaker | Director of Photography
Nicole Whitaker | Director of Photography

SINGAPORE | The Impossible Story

Directed by Johnny Green
Max Goldman | Director of Photography

THE LONG DUMB ROAD
Now on VOD

Directed by Hannah Fidell
Andrew Droz Palermo | Director of Photography
Almitra Corey | Production Designer

CAM
In Theaters and on VOD Nov 16th

Directed by Daniel Goldhaber
Emma Rose Mead | Production Designer

DESTROYER
In Theaters Christmas Day

Directed by Karyn Kusama
Julie Kirkwood | Director of Photography
Kay Lee | Production Designer

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UPCOMING RELEASES

CAM

CAM

Emma Rose Mead
Production Designer

In Theaters and VOD Nov 16th

THE CLOVEHITCH KILLER

THE CLOVEHITCH KILLER

Stephanie Whonsetler
Co-Producer

Jami Villers
Costume Designer

In Theaters Nov 16th

CREED II

CREED II

Saira Haider
Editor

In Theaters Nov 21st

TIGER

TIGER

Nathan Wilson
Director of Photography

In Theaters Nov 30th

BIRD BOX

BIRD BOX

Roberto De Angelis
Camera Operator

On Netflix Dec 21st

DESTROYER

DESTROYER

Julie Kirkwood
Director of Photography

Kay Lee
Production Designer

In Theaters Dec 25th

GLASS

GLASS

Ian Takahashi
Underwater Director of Photography

In Theaters Jan 18th

SERENITY

SERENITY

Carsten Lorenz
Producer

In Theaters Jan 25th

PRESS

DEADPOOL 2 and BLACK PANTHER Celebrated In Collider’s Best Action Movies Of 2018

By | Awards, Clients, News | No Comments

On BLACK PANTHER: “Beautifully crafted with outstanding costume design, art direction, and cinematography [and editing by MICHAEL SHAWVER], BLACK PANTHER is a wonder to behold, and you’ll want to return to Wakanda moments after the credits roll.”

On DEADPOOL 2: ” Deadpool 2’s action scenes deliver one hell of a kinetic jolt [thanks to cinematographer JONATHAN SELA] between the dick jokes.”

See the full list here.

IndieWire’s 30 Terrifyingly Under-Appreciated Horror Movies: THE BLACKCOAT’S DAUGHTER

By | Awards, Clients, News | No Comments

“Perfect editing from Brian Ufberg merges JULIE KIRKWOOD’S simple and overcast cinematography with the ominous echoes of shrill coming from the musical score of Elvis Perkins (the director’s brother, both of which are sons of late actor Anthony Perkins).  This creative tone pushes away all gaudiness in favor of stern visuals and straight suspense, qualities that are welcome and greatly appreciated in contrast to its cheap genre knockoff peers that are overly dependent on jump scares.”

Read the full list here.

THE SINNER: DP Radium Cheung (H.K.S.C) Shares His Cinematography Story

By | Clients, News | No Comments

[Cinematographer RADIUM CHEUNG, HKSC]…My father was a hobbiest, so growing up, we would often go out to the country and shoot still photographs on the weekends. It was many years ago so we were shooting on film negatives then. Every time you clicked the shutter and made a photo it cost money. So my father taught me to be careful and consider everything when composing each frame. He would give me pointers of classical composition, taught me all about the relations between the aperture, shutter speed, depth of field, focal length and all those fundamentals.

That way of perceiving the world through a camera’s eye, different lenses and focal lengths became second nature to me. I’ve also always had a profound love in cinema. Being moved and taken to another world where you’ve completely forgotten about everything else for that hour and a half was magical and additive. I wanted to be a part of that when I grow up – to tell the kinds of stories that once moved me and to move other people the way I was moved.”

Read the full interview here.

ASC Filmmaker’s Forum: Anthony Hardwick on BALLERS

By | Clients, News | No Comments

“Season 4 of BALLERS premiered on HBO in August, with the action now predominantly set in Los Angeles rather than Miami…ANTHONY HARDWICK was behind the camera on Seasons 3 and 4…

…Hardwick shoots the show primarily on Alexa Minis with Leica Summilux primes, along with a pair of Fujifilm Fujinon 19-90mm Cabrio (T2.9) zooms and an 85-300mm Cabrio (T2.9) as well. Most episodes are accomplished in six-and-a-half or seven days, working 12 or 13 hours per day, on average.”

Read the full interview here.