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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.

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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. “

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