TRANSPARENT
Season 3, Exclusively on Amazon

Edited by Cate Haight and Hilda Rasula

Patrick Meller
Nominated for Best Cinematography
2016 UKMVAs
MIIKE SNOW - Genghis Khan

Directed by Ninian Doff

DEEPWATER HORIZON
In Theaters September 30th

Underwater Photography by Peter Zuccarini
Directed by Peter Berg

TANGO
See More With a New Kind of Phone

Designed by Jason Kisvarday
Directed by James Ponsoldt

POINT AND SHOOT
Vimeo's Short of the Week

Lensed by Steeven Petitteville
Edited by Vincent Tabaillon
Directed by Thomas Leisten Schneider

INSECURE
On HBO October 9th

Lensed by Matthew J. Lloyd, CSC
Directed by Melina Matsoukas

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NEWS

UPCOMING RELEASES

DEEPWATER HORIZON<br>Underwater Photography by Peter Zuccarini

DEEPWATER HORIZON
Underwater Photography by Peter Zuccarini

In Theaters September 30th

THE GREASY STRANGLER<br>Designed by Jason Kisvarday

THE GREASY STRANGLER
Designed by Jason Kisvarday

In Theaters October 7th

INSECURE<br>Shot by Matthew J. Lloyd, CSC

INSECURE
Shot by Matthew J. Lloyd, CSC

Premieres October 9th on HBO

THE ACCOUNTANT<br>Executive Produced by Marty Ewing

THE ACCOUNTANT
Executive Produced by Marty Ewing

In Theaters October 14th

CHRONIC<br>Shot by Yves Cape, AFC, SBC

CHRONIC
Shot by Yves Cape, AFC, SBC

In Theaters October 21st

HACKSAW RIDGE<br>Shot by Simon Duggan, ACS

HACKSAW RIDGE
Shot by Simon Duggan, ACS

In Theaters November 4th

BLEED FOR THIS<br>Shot by Larkin Seiple<br>Designed by Kay Lee

BLEED FOR THIS
Shot by Larkin Seiple
Designed by Kay Lee

In Theaters November 4th

OFFICE CHRISTMAS PARTY<br>Shot by Jeff Cutter

OFFICE CHRISTMAS PARTY
Shot by Jeff Cutter

In Theaters December 9th

PRESS

Variety Review of THE EXORCIST

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Variety review’s Fox’s THE EXORCIST, shot by Alex Disenhof“The first installment of the drama does a truly impressive job of establishing a mournful atmosphere, as it sketches out an array of characters worth following on what promises to be a very challenging journey.” Read the full review here.

Review of I AM THE PRETTY THING THAT LIVES IN THE HOUSE

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“Cinematographer Julie Kirkwood oscillates between a deep and shallow depth of field, in the case of the latter blanketing much of the frame in a hazy blur, never racking focus to find the subject. Descending the stairs, Lily glides at a snail’s pace into clarity — Kirkwood lets the actress come to her. Odd low angles also prove effective. The camera does not move up or down; it’s either peering upward or downward while stationary, or panning molasses-slow from left to right, which takes enormous skill and patience for a cam operator and leaves the impression that every scene is a smeared memory.” Read the review here.