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From the 2025 ASC Photo Gallery Collection — benefiting the ASC Vision Committee’s scholarship program — now available for purchase at the ASC store.

Titled: SUNLIT INTRICACIES - 2013
By: JAMES NEIHOUSE, ASC @70mmdp

The ASC debuted their 2025 collection at the historic ASC Clubhouse. Sponsored by Canon, the exhibition showcases still photographs created by ASC cinematographers and is curated by Paris Chong, director of the @leicagallery LA, with printing courtesy of @canonusa. The artwork will remain on display at the Clubhouse for a full year and is also available to view — and purchase — through the ASC Store.

Individual prints and box sets support the advancement of underrepresented cinematographers, their crews, and other filmmakers through ASC Master Class scholarships.

#ASCPhotoGallery #Cinematography #FilmArt #LeicaGalleryLA

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

ShotDeck x ASC Lookback: Blonde (2022)

Canadian cinematographer Chayse Irvin, ASC, CSC @chayseirvin has built a career spanning features, commercials, and music videos, with credits including BlacKkKlansman and Beyoncé’s Lemonade, alongside ongoing collaborations with artist-filmmaker Kahlil Joseph.

For Blonde, Irvin developed a kaleidoscopic visual language that blends formats, aspect ratios, and color systems to reflect Marilyn Monroe’s fractured inner world. Shooting on the Sony Venice and ARRI Alexa XT B+W, he leaned into digital’s flexibility while crafting custom LUTs inspired by Kodachrome and classic monochrome stocks, creating an image that shifts between elegance and distortion.

Read more at the link in bio.

#ShotDeck #ASC #cinematography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

This year’s instructor roster includes David Mullen, ASC @mdmullen1 , Roy Wagner, ASC @rhwasc , Shane Hurlbut, ASC @shanehurlbutasc , Eric Branco, ASC @ericbranco , Christopher Baffa, ASC @christopherbaffa , and Roberto Schafer, ASC. The five-day intensive seminar covers lighting and camera techniques and current workflow practices at an intermediate-to-advanced level. All necessary equipment is provided. @american_cinematographer
Register now at TheASC.com.
#ASCMasterClass #Cinematography #ASC #DirectorOfPhotography

ASC Master Class returns May 11–15 in Hollywood with instructors Eric Branco, ASC @ericbranco and Shane Hurlbut, ASC @shanehurlbutasc , joining an already announced lineup including M. David Mullen, ASC @mdmullen1 and Roberto Schaefer, ASC, AIC.

Across five intensive days, participants will engage with working cinematographers on lighting and camera techniques, evolving workflows, and practical on-set approaches shaping today’s industry.

Limited space available. Register now at TheASC.com.

#ASCMasterClass #Cinematography #ASC #AIC #Filmmaking LightingDesign CameraWork FilmEducation HollywoodEvents

From the 2025 ASC Photo Gallery Collection — benefiting the ASC Vision Committee’s scholarship program — now available for purchase at the ASC store.

Titled: BUENOS AIRES - 2022
By: GAVIN KELLY, ASC @gavinkelly_asc

The ASC debuted their 2025 collection at the historic ASC Clubhouse. Sponsored by Canon, the exhibition showcases still photographs created by ASC cinematographers and is curated by Paris Chong, director of the @leicagallery LA, with printing courtesy of @canonusa. The artwork will remain on display at the Clubhouse for a full year and is also available to view — and purchase — through the ASC Store.

Individual prints and box sets support the advancement of underrepresented cinematographers, their crews, and other filmmakers through ASC Master Class scholarships.

#ASCPhotoGallery #Cinematography #FilmArt #LeicaGalleryLA

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

#Maythe4th be with you and your camera team 🎥🖤 We’re celebrating with a #throwback to Star Wars: Episode IX – The Rise of Skywalker, and the lens choices that masterful #cinematographer Dan Mindel ASC, BSC, SASC (@dan_mindel) made to embody the final battle between light and dark.

For Episode IX, Mindel assigned Primo #Anamorphic lenses to the movie’s villains, and utilized Retro C and Retro Panatar lenses to capture the heroes of the film. The Retro lenses, Mindel says, “were a new set that Dan Sasaki made for us. We learned a bit about the lenses on VII, and I was able to go back to him and say, ‘I want a bit more of this or a bit more of that.’"

"By the time we got to this last movie," he adds, "the handcuffs were more or less off in terms of what we did and how we did it, but I think we kept true to the filmmaking ideals that were used in the beginning, whereby we were very careful with our storytelling etiquette. In order to bring some length and breadth to the film, we have to keep pushing ourselves. We’re honoring the story by trying to revitalize our methodology. But I didn’t ever want to break the mold that was set for us — I just wanted to enhance it a bit.”

Read the full article on how #Panavision supported the visual style of the galaxy far, far away at the link in our bio 🔗

ASC Master Class returns May 11–15 in Hollywood with instructor Roberto Schaefer, ASC, AIC, examining how emerging AI and AR technologies are reshaping the cinematographer’s workflow.

Schaefer will explore how these tools support collaboration with directors and production designers, enhancing every stage of the process—from location preparation and shot previsualization through post-production and the final image.

Limited space available. Register now at TheASC.com.

#ASCMasterClass #Cinematography #ASC

At Petits Salons @petits_salons , the Petit Ermitage Hotel rooftop, director Boots Riley @bootsriley and cinematographer Natasha Braier, ASC @natashabraierasc came together for an evening conversation in Los Angeles on April 27.

Co-hosted by Neon Rated @neonrated and American Cinematographer @american_cinematographer , the Q&A covered their upcoming collaboration I Love Boosters and concluded with a surprise screening and discussion of Braier’s film The Rover with actor Guy Pearce in attendance.

#Cinematography #NatashaBraier #BootsRiley

At Petits Salons @petits_salons , the Petit Ermitage Hotel rooftop, director Boots Riley @bootsriley and cinematographer Natasha Braier, ASC @natashabraierasc came together for an evening conversation in Los Angeles on April 27.

Co-hosted by Neon Rated @neonrated and American Cinematographer @american_cinematographer , the Q&A covered their upcoming collaboration I Love Boosters and concluded with a surprise screening and discussion of Braier’s film The Rover with actor Guy Pearce in attendance.

#Cinematography #NatashaBraier #BootsRiley

At Petits Salons @petits_salons , the Petit Ermitage Hotel rooftop, director Boots Riley @bootsriley and cinematographer Natasha Braier, ASC @natashabraierasc came together for an evening conversation in Los Angeles on April 27.

Co-hosted by Neon Rated @neonrated and American Cinematographer @american_cinematographer , the Q&A covered their upcoming collaboration I Love Boosters and concluded with a surprise screening and discussion of Braier’s film The Rover with actor Guy Pearce in attendance.

#Cinematography #NatashaBraier #BootsRiley

At Petits Salons @petits_salons , the Petit Ermitage Hotel rooftop, director Boots Riley @bootsriley and cinematographer Natasha Braier, ASC @natashabraierasc came together for an evening conversation in Los Angeles on April 27.

Co-hosted by Neon Rated @neonrated and American Cinematographer @american_cinematographer , the Q&A covered their upcoming collaboration I Love Boosters and concluded with a surprise screening and discussion of Braier’s film The Rover with actor Guy Pearce in attendance.

#Cinematography #NatashaBraier #BootsRiley

At Petits Salons @petits_salons , the Petit Ermitage Hotel rooftop, director Boots Riley @bootsriley and cinematographer Natasha Braier, ASC @natashabraierasc came together for an evening conversation in Los Angeles on April 27.

Co-hosted by Neon Rated @neonrated and American Cinematographer @american_cinematographer , the Q&A covered their upcoming collaboration I Love Boosters and concluded with a surprise screening and discussion of Braier’s film The Rover with actor Guy Pearce in attendance.

#Cinematography #NatashaBraier #BootsRiley

At Petits Salons @petits_salons , the Petit Ermitage Hotel rooftop, director Boots Riley @bootsriley and cinematographer Natasha Braier, ASC @natashabraierasc came together for an evening conversation in Los Angeles on April 27.

Co-hosted by Neon Rated @neonrated and American Cinematographer @american_cinematographer , the Q&A covered their upcoming collaboration I Love Boosters and concluded with a surprise screening and discussion of Braier’s film The Rover with actor Guy Pearce in attendance.

#Cinematography #NatashaBraier #BootsRiley

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ShotDeck x ASC Lookback: Manchester by the Sea (Jody Lee Lipes, ASC)
A member of the American Society of Cinematographers, Jody Lee Lipes, ASC collaborated with director Kenneth Lonergan on Manchester by the Sea, starring Casey Affleck.

The film, released in 2016, follows Lee Chandler as he returns to his hometown after his brother’s death and becomes the guardian of his nephew. The story unfolds through a non-linear structure, interweaving past and present to reveal key moments that shape the character’s life.

Manchester by the Sea was shot digitally on the ARRI ALEXA XT using Angenieux lenses and Canon K35 prime lenses.

Explore more of our cinematographers at theasc.com and find these Manchester by the Sea shots on shotdeck.com.

#ShotDeck #ASC #JodyLeeLipesASC #ManchesterByTheSea

ASC Master Class returns May 11–15 in Hollywood with instructor M. David Mullen, ASC @mdmullen1 leading an immersive five-day program for cinematographers working at an intermediate to advanced level. @the__asc

Mullen will present a live camera and lighting demonstration, lead the ASC’s film history presentation, and take part in an in-depth conversation exploring the visual approach behind his own body of work.

Limited space available. Register now at TheASC.com.

*Instructors are subject to change*

#ASCMasterClass #Cinematography #filmmaking

The extremely talented Erik Messerschmidt ASC on trusting the VENICE 2 for his projects… 🗣️

We spoke to Erik about using the camera on Ferrari, his incredible collaboration with David Fincher, and more!

Watch the full interview at the link in bio… 🔗

#SonyVENICE2 #Cinematography #ErikMesserschmidt #DavidFincher

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.

Yesterday at the ASC Clubhouse, production designer Howard Cummings, costume designer Dayna Pink @daynapinkthings , stunt coordinator Casey O’Neill @caseyoneillstunts , makeup department head Elisa Marsh , and prosthetic effects designer Vincent Van Dyke @vincentvandykefx each led individual panels exploring how their crafts shaped the visual world of Fallout @falloutonprime . Virtual opening remarks from cinematographers John Conroy, ISC @jccine and David Franco @davidfrancodp provided additional insight into the collaborative process behind the series’ look and feel.