THE HANDMAID'S TALE
now on Hulu

Colin Watkinson | Director of Photography
Zoë White, ACS | Director of Photography

BROCKMIRE | Season 2
now on IFC

Created by Joel Church-Cooper
Luis Colina | Editor

PUMA | Cross The Line

Directed by Salomon Ligthelm
Daniël Bouquet, NSC | Director of Photography

DEAR WHITE PEOPLE: VOL. 2
on Netflix May 4th

Omar Hassan-Reep | Editor

DEADPOOL 2
in theaters May 18th

Directed by David Leitch
Jonathan Sela | Director of Photography

EPOCH | Short

Written and Directed by Rich Lee
Christopher Probst, ASC | Director of Photography

I'M DYING UP HERE | Season 2
on Showtime May 6th

Jonathan Carlson | Production Designer
Christie Wittenborn | Costume Designer

AND THEN I GO
now on iTunes

Directed by Vincent Grashaw
Pat Scola | Director of Photography
Alan Canant | Editor

KAISER | Wins and Losses

Directed by Eliot Rausch
Rob Pearson | Production Designer

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UPCOMING RELEASES

THE HANDMAID’S TALE

THE HANDMAID’S TALE

Colin Watkinson
Director of Photography

Zoë White, ACS
Director of Photography

on Hulu April 25th

DEAR WHITE PEOPLE VOL. 2

DEAR WHITE PEOPLE VOL. 2

Omar Hassan-Reep
Editor

on Netflix May 4th

I’M DYING UP HERE

I’M DYING UP HERE

Jonathan Carlson
Production Designer

Christie Wittenborn
Costume Designer

on Showtime May 6th

ALL NIGHT

ALL NIGHT

Jimmy Gadd
Editor

Matt Diezel
Editor

on Hulu May 11th

FIRST REFORMED

FIRST REFORMED

Alexander Dynan
Director of Photography

Grace Yun
Production Designer

Olga Mill
Costume Designer

in Theaters May 18th

DEADPOOL 2

DEADPOOL 2

Jonathan Sela
Director of Photography

in Theaters May 18th

CLOAK & DAGGER

CLOAK & DAGGER

Ian Tan
Editor

on Freeform June 7th

HEREDITARY

HEREDITARY

Grace Yun
Production Designer

Olga Mill
Costume Designer

In Theaters June 8th

PRESS

ASC Magazine: Björn Charpentier, SBC Shoots Handheld Anamorphic For Brad Anderson’s Period Thriller BEIRUT

By | Clients, News | No Comments

“Three particular locations typify [Director of Photography BJÖRN CHARPENTIER, SBC]‘s  approach to lighting. When Skiles and his handlers first meet the terrorists to negotiate a prisoner swap, it’s a daytime scene at a bombed-out hair salon on the city’s outskirts, with Syrian mortars exploding in the distance. “This was the location that used the most lighting outside the walls,” Charpentier notes. There being no electricity in the terrorists’ hideaway, he motivated light through an open door and a small curtained window. Two 6K HMIs pushed light in through the doorway and the window, while a 4K bounced through the window of the next room. On the ceiling were two Arri SkyPanels augmenting light on the principal actors. “We added narrow light grids to the SkyPanels, so the light was very directional, without much spill,” the cinematographer says. “We added some ambient smoke as well.”

Read the full article from ASC Magazine here.

Zoë White, ACS One of Variety’s 10 Cinematographers to Watch

By | Awards, Clients, News | No Comments

[ZOË WHITE, ACS] found the experience on “The Handmaid’s Tale” scintillating. “Working with incredible actors, really solid scripts, a beautiful crew and great resources made it a special experience,” she says. “The producers wanted bold, strong work that takes risks. I was encouraged to use what I had inside me, and that comes through on the show.”

Read the full article here.