FIVE FEET APART
Now in Theaters

Directed by Justin Baldoni
Angela Catanzaro, ACE | Editor

THE KID
Now in Theaters

Directed by Vincent D'Onofrio
Matthew J. Lloyd, CSC | Director of Photography
Ruby Katilius | Costume Designer

BOASTY (ft. Idris Elba)
Wiley x Sean Paul x Stefflon Don

Directed by Henry Scholfield
Kanamé Onoyama | Director of Photography

ARRESTED DEVELOPMENT | S5 Part 2
Now on Netflix

Created by Mitchell Hurwitz
Seth Clark | Editor

NISSAN MICRA | Where To Next?

Directed by Ben Strebel
Menno Mans, NSC | Director of Photography

CRYPTO
In Theaters April 12th

Directed by John Stalberg Jr.
Annie Simon | Costume Designer

APPLE | Depth Control - The Backdrop

Directed by Lance Acord
Pete Zumba | Production Designer

THE PUBLIC
In Theaters April 5th

Directed by Emilio Esteves
Juanmi Azpiroz, AEC | Director of Photography

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UPCOMING RELEASES

THE VILLAGE

THE VILLAGE

Noah Pontell
Editor


On NBC March 19th

ON MY BLOCK

ON MY BLOCK

Kay Lee
Production Designer


On Netflix March 29th

SANTA CLARITA DIET | S3

SANTA CLARITA DIET | S3

Jimmy Simons
Producer

Paul Maibaum, ASC
Director of Photography

Kitty Doris-Bates
Production Designer


On Netflix March 29th

FANBOY

FANBOY

Christophe Lanzenberg
Director of Photography

Alec Contestabile
Production Designer


On Amazon Prime March 22nd

WARRIOR

WARRIOR

Michael Snyman
Director of Photography


On Cinemax April 5th

NATIVE SON

NATIVE SON

Brad Turner
Editor


In Theaters April 6th

HER SMELL

HER SMELL

Fletcher Chancey
Production Designer


In Theaters April 12th

CRYPTO

CRYPTO

Annie Simon
Costume Designer


In Theaters April 12th

PRESS

Art of the Cut: FIVE FEET APART with editor Angela M. Catanzaro, ACE

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Editor Angela M. Catanzaro, ACE: “…When you hear that you’re working with a new director, you’re always a little nervous. But it’s been fantastic. I got hooked up with him through Cathy Schulman who was a producer on The Foreigner. We had a great time working on that film, and she’s executive producing this film as well. She called me one day, and I oddly remember that I was in my car on the way to a tax appointment. She told me about the project, and I thought it would be perfect for me because I’ve done a lot of — “touchie-feelie” is the wrong word — but a lot of television that requires an emotional investment.”

Read the full interview here.

ASC Mag’s Rising Stars of Cinematography 2019

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Lowell A. Meyer
Cinematographer Lowell A. Meyer grew up loving movies, but it wasn’t until he started skateboarding that he realized filmmaking could become a career. “Jumping down a flight of stairs is hard on a kid’s knees, and you’re sometimes on private property with guards — so you better be filming when going for it!” he says. “But after a while, you’ve gained all of these camera skills, and you realize that there’s so much to film besides skating.”

David Procter
It was at Ravensbourne University London where then-19-year-old David Procter first started working with cameras — shooting, developing and printing 35mm stills. He then gravitated toward the moving image, primarily inspired by documentary filmmaking. “I became acutely aware of the power of film as a medium for social and political commentary,” he says. “Real human stories that needed to be told.”

Zoë White, ACS
Director of photography Zoë White, ACS has spent much of the past year immersed in the dystopian world of The Handmaid’s Tale, the Hulu series based on Margaret Atwood’s novel. It’s the job that she says has unquestionably “put me on the map” after years of training and steadily rising in the profession. “It’s been amazing,” she adds, recalling how she had watched the series’ first season — the first three episodes of which were directed by Reed Morano, ASC, who worked alongside full-season cinematographer Colin Watkinson, ASC, both of whom won Emmys for their work — and scarcely imagined her upcoming involvement.

See the full list here.

Film Brings the Dramatic Tension of LUCE to Life at Sundance

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“LUCE stars Kelvin Harrison Jr., Naomi Watts, Tim Roth and Octavia Spencer as well the cinematography talents of Larkin Seiple (Cop Car). “I was attracted to its focus on character development, dialogue and the subtle tension it built,” notes Seiple. “This was the first feature I was able to shoot on 35mm, which changed how I approached the project.”

A film print was made from the Digital Intermediate (DI) that was projected for the world premiere at the 2019 Sundance Film Festival. “Simply put, film is the best-looking format,” remarks Seiple. “The color rendition is astonishing. After color grading it and seeing what it does for skin and faces, I’ll be hard pressed to opt for digital over film. “

Read the full article here.

DP Jomo Fray on SELAH AND THE SPADES and Drawing Inspiration From Rihanna’s ANTI

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[Director of Photography Jomo Fray on his long-in-the-making collaboration with Poe]:  “The director, Tayarisha Poe, and I met a few years ago about the project and pretty quickly became totally creatively enamored with one another. We both have very similar ideological approaches to cinema and enjoy taking risks and trying to find new images together. I think after that first meeting we were both buzzing with ideas and thoughts. Although there were a few years between that meeting and principal photography, Tayarisha and I would always be sending images or ideas back and forth with one another. The interesting thing came when we started prep on the film armed with literally years’ worth of images. I think we were both so plugged into the aesthetic at that point that it felt like second nature, and it was from that place that we both realized that we wanted to surprise ourselves and be surprised on set, so we opted to strip back our references to their core and try and find new ways of looking at all of these images we had collected. It was out of that process that the look and feel of the film emerged.”

Read the full interview here.

Sundance: Neon Buys THE LODGE

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“…a hit with horror fans since it debuted last week in Sundance’s Midnight section. In a rave, Bloody Disgusting’s Meredith Borders writes, “Every choice in [THE LODGE] – every frame, every performance, every sound and edit — is crafted for utmost discomfort [and designed by Sylvain Lemaitre], making for a relentless onslaught of unease.”

Read the full article here.

LUCE Review: Tense Thriller Examines a Model Student Suddenly Under Suspicion

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“With LUCE, he showcases elegant filmmaking skills that seem to have been earlier gobbled up by the ill-fated chapter of a big franchise. Onah emphasizes both what the camera shows and purposely hides, while the question of Luce’s true intentions lingers over it all like a dark cloud. It’s an effect the director achieves through expertly calculated long takes (lensed by cinematographer Larkin Seiple, I DON’T FEEL AT HOME IN THIS WORLD ANYMORE.) and an eerie score (composed by Geoff Barrow and Ben Salisbury, ANNIHILATION) that heightens rather than prescribes the on-screen tension.”

Read the full review here.