Skilled cinematographer with nine years of experience in television and motion picture production.
Not exact matches
As it turns out, the relative
skill with which Tully has been assembled — with kudos to
cinematographer Eric Steelberg for his dusky color palette; editor Stefan Grube for some metronomically precise cutting in a series of domestic montages; and, yes, Reitman the Younger for using pop music more adroitly than usual (notably a suite of Cyndi Lauper songs to score a nighttime drive to Brooklyn) and actually locating and maintaining a non-obnoxious tone for the duration — is beside the point.
Cinematographer - turned - director (in his directorial debut, no less) Jan de Bont makes excellent use of both
skills.
He contributes what a great
cinematographer contributes, which is an unbelievable eye, an extraordinary
skill in lighting, an immense amount of work in prep, huge care and dedication from day minus 100 all the way through to the last day of timing which is only a couple of weeks ago.
His previous films showed a great
skill for creating atmosphere and this could provide a showcase for
cinematographer Dion Beebe («Memoirs of a Geisha») and the sound team.
His virtuoso
skills as director,
cinematographer, and editor are on full display here.
Hillcoat expertly recreates the era and (mostly) captures it with exceptional
skill, with aid from
cinematographer Benoit Delhomme.
Despite this freewheeling narrative style, the piecing together of which has earned editor Tatiana S Riegel an Oscar nomination, the ice - skating sequences are fabulous, with Gillespie and
cinematographer Nicolas Karakatsanis joining forces brilliantly to show the effort, speed and
skill that goes into figure skating at the highest level.
Cahill shows a wide range of
skills as he not only directed the film but he was also the editor, producer,
cinematographer and co-wrote the film.
Iñárritu showcases incalculable
skill and unwavering commitment both, proving he's anything but a flash in the pan, while compatriot
cinematographer Emmanuel Lubezki turns the fleeting, frozen hours of dewy sunlight into a wholly visceral apocalyptic dreamscape.
Director Alejandro Gonzalez Inarritu and
cinematographer Emmanuel Lubezki show off their
skills in this powerhouse of a film.
In this, the collaborators who put together the film — Scott, Goddard, the
cinematographer Dariusz Wolski, the entire cast, and on down the list — resemble the NASA folks and Hermes crewmembers of the movie itself: They are all pulling together toward the same goal, and doing so with extraordinary
skill and tenacity.
That these two seeming extremes — the realistic and the fantastical — fit together perfectly in the film is a tribute to Ihre's
skill as a
cinematographer and the closeness of his collaboration with Trier.
Director Lawrence Sher, making his feature debut after a career as a
cinematographer, brings the
skills he established shooting movies for Todd Phillips (including the Hangover trilogy, with Helms), which is to say he uses better lighting and more textured visuals than a typically overlit studio comedy while still neglecting to frame, cut, or pace scenes for actual laughs.
Working with repeat collaborators including
cinematographer Hoyte Van Hoytema, production designer Nathan Crowley, editor Lee Smith and composer Hans Zimmer, Nolan demonstrates his all - enveloping
skill with the tools of narrative, a deep understanding of and commitment to craft as well as — witness his telling actor Styles that his boots were laced wrong — a willingness to care about the myriad details of filmmaking.
Each actor delves into the skin of the men they inhabit with great
skill and commitment, and watching their interplay is even more fun than watching the cars whiz by (in spite of the frenetic efforts of acclaimed
cinematographer Anthony Dod Mantle, an Oscar - winner for Slumdog Millionaire).
Sunset View's claim to fame includes a daily sunset hornbill feeding, when chalet owner Noordin takes great pride in the beauty of his birds as well as his
skills as a smartphone
cinematographer.
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