THE HATE U GIVE
Gala Opening
2018 Toronto International Film Festival

Directed by George Tillman Jr.
Mihai Malaimare Jr. | Director of Photography

WE THE ANIMALS
Now Playing in Select U.S. Theaters

Directed by Jeremiah Zagar
Zak Mulligan | Director of Photography

BALLERS
Sundays on HBO

Anthony Hardwick | Director of Photography

THE INNOCENTS
Worldwide Premiere on Netflix Aug. 24th

Created by Simon Duric & Hania Elkington
David Procter | Director of Photography

KIN
in theaters August 31st

Directed by Jonathan Baker & Josh Baker
Larkin Seiple | Director of Photography

ELIZABETH HARVEST
In Select Theaters and On Demand

Directed by Sebastian Gutierrez
Cale Finot | Director of Photography

NIKKI MINAJ | Ganja Burn

Directed by Mert Alas and Marcus Piggott
JC Molina | Production Designer

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UPCOMING RELEASES

THE INNOCENTS

THE INNOCENTS

David Procter
Director of Photography

on Netflix Aug 24th

PAPILLON

PAPILLON

Kevan Van Thompson
Line Producer

In Theaters Aug 24th

KIN

KIN

Larkin Seiple
Director of Photography

In Theaters Aug 31st

KIDDING

KIDDING

Maxwell Orgell
Production Designer

On Showtime Sept 9th

THE PREDATOR

THE PREDATOR

Larry Fong, ASC
Director of Photography

Michael Diner
Supervising Art Director

In Theaters Sept 14th

THE HATE U GIVE

THE HATE U GIVE

Mihai Malaimare Jr.
Director of Photography

TIFF 2018

WHAT THEY HAD

WHAT THEY HAD

Chris Stull
Production Designer

TIFF 2018

MONSTERS AND MEN

MONSTERS AND MEN

Pat Scola
Director of Photography

TIFF 2018

PRESS

ASC Magazine: Larkin Seiple on “THIS IS AMERICA”

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“Once the decision was made to shoot film, the discussion turned to black-and-white versus color. [Cinematographer Larkin Seiple] advocated for color, especially given the medium. “I think film renders color far better than any digital camera out there,” he says. ‘With film cameras, even if you underexpose, you still get a rich skin tone. There’s still information in the shadows to pull from. And with digital, it starts to fall off and become a patina, and the skin looks kind of corpse-like…. Donald’s skin looks great in the video, and there’s all these windows around which create lots of reflections, so we weren’t worried about highlights or overexposing. In fact, we tried to overexpose the image a bit more to make the grain tighter when we [brought] it down.'”

Read the full article here.

Colin Watkinson Discusses The Emotional Cinematography of THE HANDMAID’S TALE

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COLIN WATKINSON’s work on THE HANDMAID’S TALE won him the Emmy in the Outstanding Cinematography for a Single-Camera Series Emmy (One Hour) category in 2017 and has gotten him nominated again this year.

“I feel like we’ve continued to grow with the show while maintaining the style we set out with in season one,” observed Watkinson who this time around is a nominee on the strength of the “June” episode. “It all comes down to the emotional sense we create. The piece I put in for this year’s nomination is not the best looking cinematography but it is incredibly emotional. The cinematography is not picture-perfect beautiful but it works in terms of the emotion of the story.”

Read the full interview here.

CASUAL Season 4 Makes Every Episode Count in a Magnificent Ending

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“CASUAL is its best self in Season 4. What began as an examination of online dating’s oddities has blossomed into a fully-fledged appreciation of relationships in all forms. The final season of Zander Lehmann’s Hulu series [edited by Omar Hassan Reep] illustrates everything viewers could want from a half-hour hybrid of comedy and drama. “

Read the full review here.

THE INNOCENTS | Featurette: Behind the Scenes

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“Take a look at Netflix’s next groundbreaking new series, THE INNOCENTS, with this exclusive behind-the-scenes featurette. Meet the stars as they discuss their characters and the journey they are forced to take. Watch closely and you might even spot some of the clues that will unlock one of the most exciting and unique series to hit your screens in years. Get ready for twists and turns in this nailbiting supernatural thriller.”

Watch the full featurette — including cinematographer David Procter — here.

FIRST REFORMED Tops Best Indies of 2018 List

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1. “First Reformed” – lensed by ALEXANDER DYNANwith costumes by OLGA MILL

Paul Schrader’s best movie in years stars Ethan Hawke (in one of his finest roles) as an upstate New York priest who faces a crisis of faith as he attempts to help out a pregnant woman and learns of an ecological conspiracy behind his church’s main benefactor. The movie’s taut, suspenseful narrative remains in the confines of its protagonist’s perspective as his grip on reality slowly comes unraveled, leading to a shocking finale that forces its audience to grapple with its potent themes from the inside out. It’s filmmaking of the highest order from an American master finally receiving the appreciation he deserves. —EK (Review)

2. “Hereditary” – with costumes by OLGA MILL

Ari Aster’s first feature is more than just a terrifying movie — though it certainly hits its mark in that regard — because it uses the genre to craft a mesmerizing portrait of the grieving process. Toni Collette delivers some of her best work as a woman reeling from multiple deaths in her family and struggling to address the resentment she feels toward her teenage son (Alex Wolff, also first-rate). Collette’s character produces a number of miniatures that provide a chilling signifier for the encroaching paranoia and doom that dominates each scene, but the most astonishing thing about “Hereditary” is the way it portrays this broken family in such credible terms even as the story careens into outrageous supernatural territory. The final minutes are some of the most riveting you’ll see all year. —EK (Review)

See the full list and read the write-ups here.

5 minutes with David Procter

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[Cinematographer DAVID PROCTER on his toughest shoot location] “I recently shot a car commercial in Autonomous Tibet. We travelled from Shanghai; a 4hr flight before 14hrs by road, much of which on dirt tracks to an altitude of 16,000ft. The thin air was brutal and some of the crew were rushed to hospital with altitude sickness. We shot a sunrise sequence, at -10ºC, involving a visceral handheld camera. The physicality coupled with low air-pressure meant I had to take oxygen between each take. It was worth it though for the beauty of the location.”

Read the full interview here.