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.