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DP Erik Messerschmidt on Shooting Netflix’s Mindhunter with a Custom Red Xenomorph

Erik Messerschmidt (fourth from left in striped blue shirt) on the set of Mindhunter (Photo by Merrick Morton)

When mere mortals gear up for a job, they are restricted to selecting cameras currently in existence. Not David Fincher. Fincher has long hated all the gak required to make a digital cinema camera functional: a wireless transmitter to get…  Read more

By Oct 26, 2017

Color, Crews and Shooting Digitally: Ed Lachman and Vittorio Storaro at NYFF 2017

Vittorio Storaro and Ed Lachman

One of the highlights of the 55th New York Film Festival was the Master Class with Vittorio Storaro and Ed Lachman. Hosted by Kent Jones, the 90-minute presentation covered a wide range of subjects and also included key clips from…  Read more

By Oct 13, 2017

It Comes at Night DP Drew Daniels on New Lenses, Old Dogs and Using Actors as Bounce Cards

It Comes at Night

As the end credits rolled after my screening of Trey Edward Shults’s It Comes at Night, a perturbed woman behind me angrily groused, “This is bullshit. WHAT comes at night?” In her defense, the mesmerizing trailer for the film from…  Read more

By Sep 29, 2017

Directors Josh and Benny Safdie and Cinematographer Sean Price Williams Talk Shooting Good Time in NYC on 35mm at IFP Week

Sean Price Williams, Benny Safdie, Josh Safdie at IFP Week

Directors Josh and Benny Safdie and cinematographer Sean Price Williams go way back. Their latest collaboration, the crime thriller Good Time, is the trio’s fourth joint effort. They’re not only used to each other; they’ve also been through some real…  Read more

By Sep 20, 2017


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