Sentences with phrase «worked as a cinematographer»

Paola studies Television Production and Spanish, and works as a cinematographer and photographer all while fashion blogging.

Foerster, who previously directed episodes of the television series «Criminal Minds» and «Outlander,» is widely known for her work as cinematographer on epic blockbusters such as Independence Day, The Day After Tomorrow and White House Down.

When: January 27th Why: This is Lawrence Sher's first film as a director, though he's previously worked as a cinematographer on such movies as «The Hangover» series and «Garden State.»

Lachman earned the award for his work as a cinematographer on such films as Erin Brockovich, The Virgin Suicides and Life During Wartime.

A Far Off Place features some beautiful African photography, probably in part to first - time director Mikael Solomon, who earlier worked as a cinematographer for such films as The Abyss and Arachnophobia.

This film and Two - Lane Blacktop (a film that was my first assignment as a camera assistant and that was also subject to poor initial reviews) represent two poles of the directorial aesthetic that has informed my own work as cinematographer.

She has worked as a cinematographer / animator on two documentaries for the U.S. Forestry Service and currently works for her Pueblo as a Graphic Designer.

I have also worked as a Cinematographer, having shot a variety of short films and documentaries.

Stansell has also worked as a cinematographer with artists on projects and installations that have been exhibited locally and internationally.

Not exact matches

Perrin, working with five crews totaling 450 people, including 17 amazing cinematographers, makes you feel as though you're traveling with and among the flocks, close enough to see the determined looks on their faces and hear the relentless beating of their wings.

This allows a pilot and a cinematographer to work together as a team, in parallel, for professional productions that require high precision.

About Blog The Western India Cinematographers» Association (WICA) today represents the complete spectrum of personnel who work as «Camera Crew» including Camera Assistants, Focus Pullers, Operators of Specialised Camera Mounts, Camera Attendants.

Our focus is practical and informative blogs about working as a lighting technician, assistant director, production assistant, cinematographer and more.

Working with a pricier, higher quality technical team, Nicolas Winding Refn calls in renouned cinematographer Larry Smith to assist him in delivering on nifty, stylish camera plays that often immerse as cleverly used, in spite of limitations to aesthetic value beyond stylish usage, kind of like Brian Eno's and J. Peter Schwalm's score, which isn't all that special by its own right either, but has a certain atmosphere to it that is very effective when used right.

Production designer Stuart Craig (who has worked on all eight Potters) and cinematographer Eduardo Serra (a collaborator on the final two) create a Potterverse as familiar and fantastical as a dream.

For the life of me, I somehow can't find the identity of this series» cinematographer, but whomever this person may be, my hat is off to him or her, as his or her efforts, while not breathtaking, is consistently quite tasteful in its plays with coloring and lighting, which has a tendency to sometimes go from tasteful to just plain stunning, thus making the series a strong visual piece, as surely as it is something of a strong musical piece, as Christopher Dedrick must also gain some recognition for his spirited and sometimes upstanding score work.

Like many of his moviemaking countrymen, Dreier eventually moved to Los Angeles, bringing with him all the expressionist tools of his trade — dramatically exaggerated spaces and chiaroscuro — and working closely with cinematographers like Victor Milner and such directors as Josef von Sternberg and Ernst Lubitsch to create vivid visual experiences.

This time out Glazer is working with cinematographer Daniel Landin, who has collaborated with Glazer on his music video work, as well as the young multi-instrumentalist and composer Mica Levi.

I was also curious as a first - time filmmaker, what was it like working with a cinematographer like Seamus McGarvey or production designer like Nathan Crowley on your first film?

Costume designer Carol Oditz was encouraged to re-create the styles of the early seventies as part of an overall approach worked out with Lee, production designer Mark Friedberg, and cinematographer Frederick Elmes.

Allen, production designer Santo Loquasto, and cinematographer Vittorio Storaro (the legendary camera maestro here working, as is Allen, for the first time in the digital format, and knocking it out of the park) have a very particular vision of 1930s Hollywood, despite Allen's well - known and well - worn antipathy toward Los Angeles in general.

Ripley is engulfed by darkness and despair in director David Fincher's claustrophobic and underrated big - screen debut (which looks a lot better in light of Seven — photographed by Alien Resurrection cinematographer Darius Khondji — and The Game), as she crash lands on Fiorina «Fury» 161, a remote, nearly deserted, Class C Prison, maximum security, Double Y Chromosome - Work Correctional Facility after drifting in space — again — for an unspecified time.

While working for them during the early»40s, he began moonlighting as a cinematographer.

With its earthy visual textures, achieved by two world - class cinematographers — Geoffrey Unsworth (Cabaret and Ghislain Cloquet (Au hasard Balthazar)-- Tess is a work of great pastoral beauty as well as vivid storytelling.

She has a strong team to work with however — including David Oyelow as Mutesi's chess coach and criminally underappreciated cinematographer Sean Bobbitt — so the outlook is bright.

But the movie has its own vibe, as Roskam and cinematographer Nicolas Karakatsanis work some remarkable effects with lighting, making Schoenaerts look simultaneously bulky and small, and as Roskam has his characters grunt at each other and move through sliding doors, on their way to the slaughter.

But I was very lucky, my cinematographer Sam Levy is someone I've worked with as an actor and he's photographed things that I've co-written with Noah Baumbach.

But as in much of the prolific director's later work, one can't help but miss the creative contributions of Tak Fujimoto, the cinematographer of most of Demme's best and best - known films, including «Melvin & Howard,» «Something Wild,» «Silence Of The Lambs,» and «Beloved.»

Zhang's five features as a director — all made after he worked as a still photographer, then served as cinematographer on One and Eight (1982), Yellow Earth (1983), The Big Parade (1985), and Old Well (1987), in which he was also the lead actor — are the three features already mentioned, Red Sorghum (1987), and a period action thriller with political overtones about an airplane hijacking known as Code Name Puma or Code Name Cougar (1987), which has rarely been imported (and which colleagues have assured me isn't very good).

Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.

Cinematographer Roger Deakins has worked on such films as «The Shawshank Redemption» and «Blade Runner 2049.»

Working with cinematographer Matyas Erdely (who also worked on Miss Bala and Son of Saul), the camera constantly gets as close as possible to its characters, lending an immediacy to the proceedings that make it both gut - wrenching and hard to look away.

Cinematographer Juan Ruiz Anchía, by the way, will later do his best work with Scott on Scott's third film as director, Off the Map.

Cinematographer Oliver Wood (The Honeymoon Killers, Face / Off) brings a beautiful European feel to the film, draping it in grays and blues, but clearly establishing the cold and the scenery as well — precisely the opposite effect he achieved in his warm, pastel «Miami Vice» television work.

Besides Newman, who, as Ebert noted, was taking an active hand in shaping and developing a fairly consistent character archetype over several years and films, they included co-screenwriter Frank Pierson, who would go on to write Dog Day Afternoon; cinematographer Conrad Hall (In Cold Blood, Butch Cassidy and the Sundance Kid, Fat City, Marathon Man); editor Sam O'Steen (Carnal Knowledge, Chinatown); and sound mixer Larry Jost, who would work with O'Steen on those two films and then go on to One Flew Over the Cuckoo's Nest — a movie that is in many ways Cool Hand Luke's spiritual cousin.

Of course, that's changing as the American Society of Cinematographers works to add diversity to...

A number of other major restorations will have their World Premieres at the Festival: Carol Reed's atmospheric Graham Greene adaptation of OUR MAN IN HAVANA (1959), set in Cuba at the start of the Cold War, makes timely viewing as US / Cuba relations thaw; Ken Russell's reworking of D.H. Lawrence scandalous classic WOMEN IN LOVE (1970) stars Oliver Reed, Alan Bates and Glenda Jackson and shows two couple's contrasting searches for love, and was restored by the BFI National Archive working alongside cinematographer Billy Williams; A MAN FOR ALL SEASONS (1966) is directed by Fred Zinnemann from a script by great British screenwriter, Robert Bolt from Bolt's play about Sir Thomas More, a perfect companion piece to Wolf Hall; Henry Fonda stars in the ripe - for - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disability.

«Selma» works as both an epic and a small scale drama, and credit must be extended to DuVernay's longtime cinematographer, Bradford Young.

With Ruben Impens (Raw and Felix van Groeningen's works) on board as the cinematographer, this should suit Cannes programmers» Euro - Americana sensibilities just perfectly.

The film is also Anderson's first feature with no credited cinematographer, as the filmmaker worked with a crew of camera technicians he has collaborated with before in a new way.

On his first Weibo postings, Tony indicated that currently, in addition to being busy with the filming of The Grand Master, he has also been working on a commercial — in his posting, he uploaded a picture of himself with cinematographer Xia Yong Kang as well as other crew members.

Phantom Thread is a work of tremendous focus, not only from Day - Lewis but also Paul Thomas Anderson, who writes, directs and shoots the film (albeit uncredited as the cinematographer).

plotting to be any fun as camp, and too ponderous to be watchable as a purely bad movie, Diablo doesn't offer much beyond a reminder of other, better films and some choice Alberta scenery framed by a cinematographer who shot John Carpenter and Robert Zemeckis» best work, but is now doing this.

Akhtar milks the mechanics of the complex caper for all their suspenseful worth as expertly as he handled the first film's fights, car chases, and all other manner of slam - bang mayhem — which are all still very much present here and just as polished, aided immeasurably by the work of cinematographer Jason West and editor Anand Subaya.

The great Roger Deakins was the film's cinematographer, and as with his equally masterful work on The Assassination of Jesse James by the Coward Robert Ford, he understands how to use the landscape to enhance the characters» emotional state.

Co-Director and Cinematographer Sam Cullman's previous work includes serving as an Associate Producer on GIULIANI TIME and the Director of Photography on KING CORN and Sundance 2008 alum THE RECRUITER.

Nor did she ask Anderson about working as an uncredited cinematographer for the first time in his career.

Sources told IndieWire at the time that Anderson had been toying with the idea of working as his own cinematographer for years, but that's not exactly how the director sees it.

Christopher Doyle is one of the world's most recognizable cinematographers, whose work in Hong Kong with directors such as Edward Yang, Patrick Tam, Stanley Kwan and especially Wong Kar - wai gave him international renown.

The cinematographer had challenges even in finding a support crew who knew how to work with film, as digital has become, for many, the only way to shoot a film.