Year – 2020 Decade – 2020s Cinematographers – Armando Salas (Episodes 3-4, 7-10); Ben Kutchins (Episodes 1-2, 6); Manuel Billeter (Episode 5) Directors – Jason Bateman (Episodes 1-2); Cherien Dabis (Episodes 3-4); […]
Year – 2020
Decade – 2020s
Cinematographers – Armando Salas (Episodes 3-4, 7-10); Ben Kutchins (Episodes 1-2, 6); Manuel Billeter (Episode 5)
Directors – Jason Bateman (Episodes 1-2); Cherien Dabis (Episodes 3-4); Amanda Marsalis (Episode 5); Ben Semanoff (Episode 6); Alik Sakharov (Episodes 7-10)
Aspect Ratio – 2.2:1
Distributor – Netflix
Genre – Drama
Cameras – Sony Venice
Lenses – rehoused Leica R’s; Leica Summicron-C; Leica Noctilux-M 50mm T0.9 rehoused by TLS
Format – Digital; Large Format sensor
Categories – (Click on any of the following to see similar frames from other films) Phone Calls; Frames Within Frames; Wide Shots; Low Key Lighting; Diners; Establishing Shots; High and Low Angles; Reflections; Vanishing Point Perspective; Color
The Show
The continuing criminal misadventures of the Byrde clan (led by patriarch Jason Bateman and matriarch Laura Linney) – money launderers who use their Missouri riverboat casino to clean Mexican cartel cash.
Cinematographers Armando Salas and Ben Kutchins both earned Emmy nominations for the Netflix show’s third season, which shifted the series to new cameras (from VariCam to Sony Venice), lenses (from Cooke to Leicas), and aspect ratios (widening from 2.0 to 2.2). The show also embraced an HDR on-set workflow for the first time – a process I detailed in a story I wrote for Filmmaker Magazine.
Scene Coverage
Therapist’s Office
Police Interrogation
deep fried movies 