Director of photography Pawel Pogorzelski goes for a Korean action-film look using RED Helium on the film Nobody. https://www.red.com/nobody
Category: The Written Word
Caught up with cinematographer Thomas McCallum to talk about his two-year whirlwind shooting of ESPN’s “The Last Dance” with RED Weapon digital cinema cameras. Read more.
Cinematographer Michael Grady handles the large-format visuals for the Apple+ series The Morning Show, with support from Panavision and Light Iron post. Read more.
Panavision cameras and lenses and Light Iron post help cinematographer Gavin Kelly take American Horror Story back to the ’80s in AHS: 1984. Read more.
Cinematographer Chris Teague used RED Digital Cinema cameras to shoot Russian Doll for Netflix and wins an Emmy for his work. Read more
DP Seamus Tierney shoots the indie hit Brittany Runs a Marathon with a support team of Panavision and Light Iron post backing him up. Read more
Tim Ives, ASC enlists Panavision New York for cameras and lenses on the miniseries Fosse/Verdan, which chronicles the decades-long relationship of famed director/choreographer Bob Fosse and sensational dancer Gwen Verdon. Read more.
Cinematographer Christian Sprenger’s work showed up during the Super Bowl not once, but twice, with commercials for TurboTax Live (“RoboChild”) and Amazon Alexa (“Not Everything Makes the Cut”). Read more.
Christian Sprenger shot season one of GLOW for Netflix then Adriam Correia tagged in for season two. Both used RED cameras. Read more.
Cinematographer Chayse Irvin, CSC worked with Panavision on Spike Lee’s BlackKklansman. Read more.
Doug Super Awesome Force Is Go! 