Pearl cinematographer Eliot Rockett
“Either it Blows Up or it Doesn’t.” – New interview for my Filmmaker Magazine column with Pearl cinematographer Eliot Rockett Rockett, a longtime Ti West collaborator (X, The Innkeepers, The House […]
Halloween Ends cinematographer Michael Simmonds
“You want to avoid a shot looking like a fruit salad. There needs to be a dominant source, then a secondary source. One light has to win.” Halloween Ends cinematographer […]
Prey cinematographer Jeff Cutter
I talked with Jeff Cutter, DP of the new Predator prequel Prey, about dodging bears in the wilds of Calgary, creating the predators’ heat vision and cloaking effects, and reteaming […]
Marcel the Shell with Shoes On cinematographers Bianca Cline and Eric Adkins
“Filming a character who has to be seven or eight inches from the lens adds a whole bunch of complications.” New interview up for Filmmaker Magazine with Marcel the Shell […]
The Black Phone cinematographer Brett Jutkiewicz
“I actually still use my light meter on everything….Being part of that transition from film to digital, I still can’t let it go and totally trust the monitor.” Less than […]
Elvis cinematographer Mandy Walker
New interview for my column at Filmmaker Magazine with Elvis cinematographer Mandy Walker. Shot on Alexa 65, with Panavision Spheros for the pre-Vegas portion of the film and Panavision T-Series […]
Hustle cinematographer Zak Mulligan
New interview up at Filmmaker Magazine with Hustle DP Zak Mulligan. The Netflix film stars Adam Sandler as a burned out Philadelphia 76ers scout who discovers a raw talent (pro […]
Cinematographer Andrew Droz Palermo on Moon Knight
“I really like that sodium vapor look that is kind of fading. Everyone is moving to LEDs at this point, so this felt like a final hurrah for sodium vapor.” […]
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