In Theaters Christmas Day

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

Now in Theaters thru Christmas Day

Directed by David Leitch
Jonathan Sela | Director of Photography

Now in Theaters

Directed by Steven Caple Jr.
Saira Haider | Editor

Now on Netflix

Directed by Bruce Springsteen
Joe DeSalvo | Director of Photography

On YouTube Jan 16th

Dan Hank | Producer [Pilot]
Omar Hassan-Reep | Editor [Series]
Megan Oppenheimer | Costume Designer [Pilot]

Dan Hank Omar Hassan-Reep Megan Oppenheimer

TOVE LO | Cycles

Directed by Malia James
Emma Rose Mead | Production Designer

In Theaters Jan 18th

Directed by Henry Dunham
Josh Ethier | Editor

On Hulu Jan 11th

David Roessell | Producer
Eduardo Mayen | Director of Photography
Ian Kezsbom | Editor
Shaheed Qaasim | Editor

David Roessell Eduardo Mayen Ian Kezsbom Shaheed Qaasim





Julie Kirkwood
Director of Photography

Kay Lee
Production Designer

In Theaters Dec 25th



Cynthia Summers
Costume Designer

On Netflix Jan 1st



Jeff Cutter
Director of Photography

In Theaters Jan 4th



Ken Topolsky
Producer [Series]

Bill Eigenbrodt
Production Designer [Pilot]

Premieres Jan 15th



Daniel Hank
Producer [Pilot]

Omar Hassan-Reep
Editor [Series]

Megan Oppenheimer
Costume Designer [Pilot]

On YouTube Jan 16th



Ian Takahashi
Underwater Director of Photography

In Theaters Jan 18th



Carsten Lorenz

In Theaters Jan 25th



Roberto De Angelis
Camera Operator

On Netflix Dec 21st


IndieWire: SPRINGSTEEN ON BROADWAY ‘One of the Best Things Netflix Has Ever Done’

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“For viewers who couldn’t see the real thing — and most especially for New Yorkers, some of whom work just a few blocks away from the Walter Kerr, but have never been able to go inside its walls — the access is so exciting that the 14-month wait for it seems like a small price to pay. Call it a film, call it a special, call it whatever you want; on Netflix, SPRINGSTEEN ON BROADWAY [lensed by JOE DESALVO] is nothing short of a public service.”

Read the full article here.

THE HATE U GIVE: Mihai Mălaimare Jr. Employs Lenses, Color, Format And Camera Movement To Visually Differentiate The Protagonist’s Two Conflicting Worlds.

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“Central to the theme is Starr’s struggle and eventual resolution of these opposing versions of herself, and one of the first conversations director George Tillman Jr. had with  was about how to visually differentiate between Starr’s two worlds. Their options were plentiful — lenses, color, format, camera movement — and after extensive conversations, [cinematographer MIHAI MALAIMARE JR.] felt it would be best to utilize multiple tools. “Immediately, I thought if you only choose one [method of differentiation, you will inevitably] overdo it. But if you use all the elements, you can be subtle with some of them,” he says. “

Read the full interview here.

Independent Spirit Awards: Zak Mulligan Nominated for Best Cinematography for WE THE ANIMALS; HEREDITARY and WE THE ANIMALS Nominated for Best First Feature; FIRST REFORMED Nominated for Best Picture

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Read the full list of nominations here.

INDIEWIRE: Julie Kirkwood, Alexander Dynan, and Mihai Malaimare Jr. on the Lenses They Used to Make This Year’s Award-Contending Movies

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Julie Kirkwood: I don’t like to pair the highest resolution with the most pristine, sharp lenses. I think we’re getting to a point where there’s almost too much sharpness and detail, so I like to use older lenses or take the edge off of newer ones. With the help of Panavision, we landed on a set of detuned Primos. I don’t want to see every pore on an actor’s face, especially not on DESTROYER, where we were dealing with two different time periods and many of the actors wore make up and/or prosthetics to change their age by 17 years.

I wanted to use the Alexa Mini for the ease of use on set, since we knew we would be shooting in 38 different locations and moving very quickly on an indie film schedule. I also wanted a small camera body that could be stripped down for all of our time spent inside the main character’s car. From the beginning I planned to go for extreme blown out highlights, and I feel that the Alexa rounds highlights in the most natural way among digital cameras, and the skin tones feel the most accurate.

Alexander Dynan: When [director] Paul Schrader and I started FIRST REFORMED, it was important to him that we reflected the source material that he was drawing on – Bresson, Dryer, and Bergman. As a result we decided to frame in 1:33:1. Yet we still wanted the film to feel modern so we embraced the digital quality of the Alexa. I chose the Master Primes because I really love how at a deep stop they hold different planes of focus within the image.

Mihai Mălaimare: The first week in prep [director] George [Tillman Jr.] and I discussed about how everybody will expect a very gritty look from this movie. We decided to surprise the audience by choosing a different approach. The best description for what we envisioned was a high contrast image like Eli Reed’s photography printed on high gloss paper. We realized that anamorphic glass will be the best tool for this so we went with Ultra Panavision 70. We also chose the Primo 70 lenses for the private school scenes to enhance the contrast between Starr’s two worlds. The Vista Vision size sensor of the Millennium DXL allowed us to use this amazing anamorphic 1.3x set but also gave us the opportunity to use super wide spherical lenses with almost no distortion.

Read the full set of interviews here.

FIRST REFORMED Ranks on Time Magazine’s Top 10 Films of 2018

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“Sometimes a film wears its anguish like fingerprints on a mirror. In Paul Schrader’s FIRST REFORMED [lensed by ALEXANDER DYNAN] Ethan Hawke gives one of the year’s finest performances as a rural pastor who has lost his way, further hastening his own end with drink. A young woman from his congregation— played by a soulful Amanda Seyfried— reaches out when she fears that her husband, a radical environmental activist, may be planning a suicide mission. Politics, religion, the global-warming crisis—all the things we’re either constantly talking about at our dinner tables or are afraid to talk about—come into play under Schrader’s watchful eye. This is one of the most thoughtful, intense and ultimately fortifying films of the year.”

Read the full article here.

JONATHAN is “A Suspenseful, Engaging Psychological Thriller”

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John, his posture and tone relaxed, his clothes baggy and loose [courtesy of Costume Designer SAMANTHA HAWKINS], is the free-spirit type while Jonathan, with his modestly parted hair, kempt appearance, and ramrod-straight back, is the more mature half. Like any pair of brothers living together, they snipe at each other about laundry, food, and video game scores, exhibiting a subtle yet genuine level of love. 
Read the full review here.