Indiewire: Here Are the Cameras and Lenses That Shot The Year’s Best TV Shows

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“Cameras and lenses can make a huge difference on a project, something this year’s Emmy-nominated cinematographers know something about. IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (Half-Hour), Single-Camera Series (One Hour), and Limited Series or Movie, and asked them which format, camera and lenses they used. But just as important, we asked them why they were the right tools to achieve their show’s unique look.”

See the full list — including Patrick Cady, ASC and Colin Watkinson — here.

Indiewire: 19 Beautiful Shots From Every Best Cinematography Nominee

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“This year, 19 cinematographers received Emmy nominations for their work in one of three categories: Outstanding Cinematography for a Single-Camera Series (Half-Hour), Single-Camera Series (One Hour), and Limited Series or Movie. Here are 19 still photos that capture the cinematic essence of these beautifully shot shows [including INSECURE from cinematographer Patrick Cady, ASC and THE HANDMAID’S TALE from cinematographer Colin Watkinson].”

See Handmaid’s Tale here and Insecure here.

View the full gallery here.

Emmy Contender: How THE HANDMAID’S TALE Recreated Fenway For A Brutal Key Scene

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“Another iconic shot in the episode took place when June managed to escape but had to cut a tracker from her ear. The scene was shot in a real mechanic’s garage, but the garage didn’t have any windows in it, so the production had to install them along the top of the garage doors. The bit of light they afforded, along with the light from the fire in the stove, helped [Cinematographer Colin Watkinson] to illuminate the scene of June’s bloody resistance. “There’s so much blood,” he said, laughing. “I love it when Mike Barker wants to push it, and he really wanted to see the scissors cutting her ear.””

Read the full interview here.