todd mcmullen
walking out was shot by todd mcmullen in challenging locations in montana’s absoraka mountains .
todd joined moore colson in 1993 after working as a business assurance manager with coopers & lybrand (pricewaterhousecoopers). todd has conducted numerous seminars related to strategic and succession planning and business development topics .
don' t miss your shot how making friends with trash cans and other objects can improve your career. in a conversation with highly respected cinematographer todd mcmullen (casino, the green mile), he talks about how to break into hollywood, and what it takes to be successful once you get there. feature, business todd mcmullen
todd mcmullen is a partner, a member of the firm’s executive committee and advises the firm on strategic initiatives. by working closely with business owners and top management, todd is able to develop successful strategic plans and create business solutions that help companies grow their businesses and develop the management systems needed to enhance their bottom line .
cinematographer todd mcmullen: i had known alex smith for many years through his wife dana, who was an actress on friday night lights, which i shot for 5 years. we had talked about working together but our schedules were always out of sync .
“i think i’m getting better food at the parties, ” mcmullen laughed. “it’s been wonderful. ”
more than just a travelogue, todd mcmullen’s walking out cinematography helps keep the audience engaged. carefully choreographed fluidity, as great cinematography often does, helped define the relationships between the characters. mcmullen wanted to capture the beauty of the rugged environment but, at the same time, wanted to keep his cinematography moving and flowing. he needed to keep the film visually interesting with complicated flows and continuity of shots .
only one more episode till the big 100, but we & apos; re not letting up on bringing you a great new show packed with lots of content! not only do we have a run down of our pick of the pilots from the us, but also a great interview with cinematographer todd mcmullen .
a previous sundance - goer, mcmullen finally gets to experience attending the festival with a film in competition. the biggest difference ?
cinematographer todd mcmullen: yes, good questions. i believe my agent was contacted by ruben fleisher, who was directing the first two episodes and he thought my look might be appropriate for the style of writing of santa clarita diet. i resonated with the writing was definitely interested in changing palettes and shooting something with a little lighter subject material .
directed by twin brothers alex and andrew smith, walking out takes a short story by david quammen and elevates the father - son battle of the elements into a treatise on parent - child relationships and adulthood. the film stars matt bomer and josh wiggins as father and son, and early reviews praised the engaging acting, tight script, and – thanks to todd mcmullen – stunning cinematography .
todd also worked as cinematographer for walking out, starring matt bomer and josh wiggins, which premiered at sundance. this tells the story of a father and son struggling to connect as they have a brutal encounter in the wilderness that changes everything .
in their own ways, both projects provided unique and exciting challenges for mcmullen’s camera work. here’s hoping next year’s awards season bears fruit for his accomplished work .
author (s): mc ewan a, wieler m, makis w, mcmullen t, morrish d, macleod s, schrader l, sawyer m. i
author (s): volodko n, salla m, zare a, abulghasem el - a, vincent k, benesch mg, mcmullen tp, bathe of, postovit l, baksh s .
author (s): baker s, zenke j, mcmullen t, morad a, chao m, williams d, capelle l, severin d, morrish d, mcewan a, ghosh s .
author (s): bekele rt, venkatraman g, liu rz, tang x, mi s, benesch mg, mackey jr, godbout r, curtis jm, mcmullen tp, brindley dn .
cinematographer todd mcmullen: we captured the film on the arri alexa xt and panavision glass. our staples were the g series anamorphics. the 25mm was the go - to lens with 40mm riding shotgun. i also used the 3: 1 and 11: 1 zoom on the b camera. for the flashbacks i thought it would be a cool subtle visual change to shoot with spherical lenses, framing for 2: 39, so i used pv vintage primes, an old 70’s 20 - 100mm cooke and a panavision 11: 1 zoom .
park city in january often tips toward the punishing side for those hailing from sun - drenched southern california. with temps regularly in the low 30s and snow measured by the foot, patrons of the sundance film festival often battle the elements traversing from screening to screening. cinematographer todd mcmullen, on the other hand, isn’t a stranger to these conditions. despite residing in austin, texas, his stint last year filming the new thriller walking out, which premiered last week at sundance, found him filming in the most isolated regions of montana .
cinematographer todd mcmullen: it’s interesting because i feel that differences in the two formats are somewhat subtle. speaking in terms of physical production and on the ground shooting schedules they both have the same challenges. time, money and resources. in the case of walking out, we actually had very few hours of daylight to shoot in. the winter months are short and the locations we shot in condensed that time even more. as far as style and look, i tried to keep the look appropriate to the emotions and time of day of the scene .
as for lighting, spontaneity and flexibility require that mcmullen’s lighting be simple and natural, with sources through windows and practical light sources. that helps keep the set free of lighting stands and other clutter, which results in greater freedom .
todd has worked as the cinematographer for a wide range for shows, including sky atlantic & apos; s the leftovers, aaron sorkin & apos; s brilliant the newsroom, the us version of prime suspect, and friday night lights. his latest tv project was as director of photography for netflix’s horror / comedy santa clarita diet, starring drew barrymore and timothy olyphant .
“we really wanted to avoid using the usual sepia tones and scratches on the images to give it that old - time look, ” mcmullen said. “filming it the way we did gives another depth to the story that i’m really very proud of. ”
todd serves clients ranging in size from start - ups to fortune 500 companies in various industries including manufacturing, distribution, retail (primarily convenience stores), high tech / software, healthcare (primarily physician practices), lending and service (primarily staffing). he has extensive experience in mergers and acquisitions, business and management assessments, cash flow forecasting and profitability enhancement, as well as strategic and succession planning and turnaround management .
filming for netflix mandated 4k delivery, so mcmullen needed to change cameras to the sony f55 with panavision glass. the result provided a brighter, more vibrant image than his typical output. camera and tonal differences aside, the experience of working on netflix’s comedy series didn’t provide dramatic differences from his time on walking out .
the smith brothers’ screenplay also offered varied shooting conditions including night shots and flashback sequences. even considering the isolated filming locations, the night shoots offered mcmullen an additional exciting challenge. he relied on as much natural lighting as possible, including appropriate campfire scenes and candlelight. some interior cabin sequences also provided great opportunities with limited amounts of electricity .
lighting is run through a complex dimmer system that allows mcmullen to signal to the audience that mcavoy is on the air. he says that the sensitivity of the arri alexa camera allows him to think differently about light. for example, the many prop monitors displaying video around the newsroom set throw a surprising amount of light that is sometimes useful .
“it a nutshell, it’s this really epic story with very intimate performances. i’d known alex [ smith ] … and he’d approached with ‘walking out, ’ sent me the script, and i’d read it, ” mcmullen said. “there were a lot of things in it that i’d experienced too, especially with hunting with my father, that resonated with me. ”
the story kept all members of the crew tightly connected to the project despite working in harsh terrain. mcmullen’s challenges extended beyond his personal comfort. he ensured the cameras themselves received proper treatment against the frigid conditions. avoiding drastic temperature changes and relying on special oils kept the lenses from locking up and the camera equipment in good working order for the limited shooting time available .
“well, i’d never thought about doing a half - hour dark comedy, ” mcmullen laughed. “i got the scripts and liked them immediately. it was great writing, and i thought we could do some fun stuff with it. i said ‘yes’ because i wanted to do something that was a little lighter, a little less intense. it was good timing for me. ”
shot almost entirely on practical locations, the camera package is provided by panavision. it includes panavised arri alexas shooting to sxs cards, and angenieux optimo zoom lenses, including a 15 - 40 mm, a 28 - 76 mm and a 45 - 120 mm, as well as some panavision pvintage® primes. most of the time, mcmullen uses two cameras, sometimes three or more .
the flashback sequences, however, give reviewers and festival goers additional dazzling imagery. to tell the backstory of bomer’s cal and his father (bill pullman), mcmullen kept his anamorphic frames and overlaid circle lenses to provide unique depths of feel and lush flavors. in post - production work, the smith brothers accentuated the images with a deep saturation of color to great truly breathtaking footage .
“i didn’t find much difference between time, money and resources between santa clarita diet and walking out, ” mcmullen explained. “even though it was a feature length on walking out, we had shorter days because of daylight. we only had nine hours most of the time. it depends on the feature, but, this time, we really didn’t get as much time to film. ”
in the quest for creative visual storytelling under the budget and schedule constraints of episodic television, panavision is an ally, says mcmullen. “panavision has been really stepping up. we are all getting economically squeezed, but we’re still getting good equipment and the tools we need to make these shows. we’re all in the same boat. panavision is a great company that has supported me throughout my career. ”
“we started the shoot in livingston, montana, ” mcmullen said, “but we ended up shooting in the mountains outside of bozeman, right in the dead of winter. i know the elements, and i was fortunate enough to shoot the first season of the leftovers in upstate new york in the dead of winter. that place was also extremely rugged. so, i have some experience working in these conditions. ”
in addition to lighting, mcmullen relies on the lenses to help creat the look. “i really like the optimos. they’re not too crisp, and they work really well in that format. we don’t do a lot of zooming, but we do adjust the frame a bit to make things work. we don’t have to stop and put on a different prime lens each time, and that’s important in terms of efficiency. ”
“i love when you can go from the widest, most beautifully epic panoramic shot and then hard cut into this crazy close - up on your characters, ” mcmullen commented. “i think that’s visually intense and keeps you alive in the story. we would do a lot of those where it made sense. you’re out in this big wide - open space and then jump to this character’s head, and that worked well. ”
whether he’s shooting on practical locations in the hudson valley in central new york state, or in downtown manhattan, mcmullen values simplicity and efficiency. “working in new york comes with its own hassles, ” he adds. “just getting across town is a chore that can take forever. that’s another reason why keeping it simple works for this show. we don’t use a lot of cranes, hotheads or specialized toys. we very rarely use dollies. ”
“we try not to get lost in the details, ” says mcmullen. “we try to use the camera as though it’s another character in the scene, and we see how the scene develops as opposed to choreographing it with specific marks for the camera or the actors. the camera operator is helping to tell the story as he’s watching the scene unfold. and of course, since the subject matter is a bit darker, so is the mood. ”
“what’s wonderful about this style is that you’re given the opportunity to give up some of the preciousness, ” mcmullen notes. “you might not always have perfect light or a perfect frame, but it creates immediacy with the acting. the director is not waiting around all day for lighting, which helps build momentum. you get in there and do it. my goal is to give the actors and the director enough time, so that they’re not rushing to get the scene .
“the way the camera picks up into the shadows is really something else, ” he says. “it becomes more about controlling and shaping the light. if i’ve learned anything with this camera, i’ve learned how to control the light—how much less light i need, and how much further i can push. the alexa is definitely the most natural, film - like digital camera. it’s great for television production. ” the alexas record apple prores 4444 to internal sxs cards. three backup copies are made and a shuttle drive is sent to encore for post work. mcmullen uses a standard arri film lut for the images he sees on set .
working through this past winter, one of the harshest in memory, affected the production in many ways. “in daytime scenes, you have so much ambient light coming at you from the snow, ” mcmullen explains. “it’s bright everywhere, and it creates a challenge because it’s out of your control. we’re not a show that would lock off a frame and put nds in the camera. still, it was fun to work in those conditions and see what kind of images we could get. some of the tones we got were eerie and interesting. at night, we could shoot the scene using the snow to get an interesting glow. i could use balloons or something small high up and out of the way, and the light would bounce around everywhere. so in spite of the unexpected control problems, the snow sometimes rewarded us with interesting illumination. ”
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our style of shooting is one of the main advantages of using the alexa. it is a camera that can embrace the element of surprise and roll with the punches .
the last test i was hoping to have success on was wireless video transmission. because of the way we move the camera and the way we move in general, one of the single most important factors in a successful camera set up to me is freedom. we tested the wevi wireless system and the modulus system. since we were treating this like a film shoot it was not important to have a hd signal. it was just important to have a solid image. the modulus was the most stable system and that is what we used .
an: overall, how was your experience with alexa? tm: my basic requirements for digital production are about ease of use, a familiar workflow and a pleasing natural image. i am not concerned with how many ks a camera has and how many attachments you can put on it. i am simply looking for a film camera with realistic digital capture technology. the alexa is the digital camera that is performing like a film camera. the images it captures and produces look less electronic and more natural and organic to my eye. the depth and dimension it produces without an extensive post workflow are the most filmic representations i have seen .
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effect of radioactive iodine dosing on disease recurrence in differentiated thyroid cancer. radiotherapy and oncology. 2016 sep 1; 120: s80 .
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founded in 1985, sundance has become the most famous independent film festival in the world! this year hdvideopro will be on the ground at sundance 2017 from january 19 - 24th with interviews and updates. follow us on
walking out was a story i resonated with for a few strong reasons. growing up, i did a lot of hunting with my father and some of the same fears, anxieties and rewards i experienced were present in the script. also, i love a challenge and working in montana is full of wonderful challenges. the freezing temperatures, the short days and the remote locations .
i was visually engaged in the story because i saw this as a chance to photograph a story that lent itself to an epic widescreen format. the mountain, the weather and the locations were a character in the story and we felt visually the scope of this world should be epic .
by alex smith and andrew smith, an official selection of the u. s. dramatic competition at the 2017 sundance film festival. courtesy of sundance institute | photo by standa honzik .
all the lenses held up in the adverse weather due to panavision knowing the conditions and prepping them for the cold .
david alexander willis: after plentiful episodic work, this is your move to feature length? how was the transition for you? i know that you’ve helmed camera for the majority of hour - long episodes on several television series, like the leftovers, friday night lights and prime suspect, as well as the upcoming netflix show santa clarita diet. was shooting a feature length “less” demanding in any way ?
i take this approach to any narrative story regardless of length of the story. i think the one difference i worked on was the consistency of the shots and making sure they kept the same scope and creativity throughout the movie. because part of the story of walking out was movement and exploration, i thought it might be interesting to frame the characters walking up the mountain going from frame right to left, and when they return down the mountain they go from frame left to right. for this particular project i feel it was more demanding as far as physical production was concerned .
david alexander willis: the newsroom and friday night lights are modern television classics, and i’ve heard absolutely nothing but good things about the leftovers. will you be back for the third and final season of the leftovers? i absolutely loved watching the newsroom; it was shot as such a beautiful, clean, crisp show, for both interiors and exteriors. it must have been a dream come true to work with the floating - single - shot - and dialogue - master aaron sorkin ?
david alexander willis: netflix just released teasers on santa clarita diet, an episodic starring drew barrymore and timothy olyphant. it looks a little dark! how did that project come about for you? i know that netflix mandates a 4k workflow. what camera and lens system did you go with, and what were the decisions there ?
yes, netflix mandates 4k and in particular this was the first netflix show to originate in 4k and hdr. we ultimately went with panavision and the sony f55. i felt it was the shortest learning curve for myself after being so familiar with the results of the alexa. i primarily used angenieux optimo zoom lenses on the a camera and had the panavision 19 - 90mm on the b camera .
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jonathon virostko hit six 3s, scored career - high 30 points in riverton parke win over rockville. avery briddick had 22 for rp
end of 3rd rp leads 51 - 48. virostko had 17 (unofficial) points in period
another look from rp avery briddick game - winning layup with 3 seconds left in sectional semifinal win over rockville. urltoken
avery briddick leads rp with 23. jonathon virostko 19 and freshman brandon hazzard 10 points
johnny o is on. virostko with 2 threes here in 2nd quarter and 4 in the game .
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i have been very fortunate to work in the film business as a camera assistant and now as a motion picture camera operator and director of photography. i have worked and learned from some of the greatest cameramen in the world. conrad hall, michael ballhaus, bob richardson, lloyd ahern, david tattersal and many others. choosing to work my way up through the ranks, i felt that would give me longevity in the business and the fundamental experience of doing each job in the camera department. i also kept busy between film jobs by shooting documentaries, educational, and corporate videos .
in 1990 i began shooting a documentary on the grateful dead and the deadheads. we decided to shoot on betasp. we began editing our 100 plus hours of footage on a 3 / 4  linear system. wrong. six solid cuts a day were painstaking. i had been following the development of non - linear systems over the years but could not justify the expenditure. then in 1994, i decided to buy a media 100 system. i believe the version was 1. 2. it was relatively inexpensive and had a great image quality. at the time avid was well over $ 100, 000. from there i sank into the world of non - linear editing and digital video production .
i currently have in my project studio, a media 100 system, version 8. 2, final cut pro 3. 04, dvd studio pro 2, and a host of other video and audio software and hardware. when i am not working as a camera operator i edit documentaries, commercials, and show reels. i also have a number of clients who i have developed dvd titles for. my greatest hope for the digital revolution is less cables, smaller batteries and zero - reality television .
when i am not working you can find me on my harley - davidson road king or doing gardening at my home in venice, california. wait a minute. don' t they have computer software for gardening ?
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
the leftovers is a new hbo series that hints at the rapture, a biblical prognostication. in the story, 2 percent of the world’s population mysteriously and suddenly disappears. those left behind struggle to understand. reactions vary. some characters try to maintain a normal life, others turn to hedonism, and still others give up, with dire consequences .
based on the best - selling novel by tom perrotta, the leftovers was co - created by damon lindelof, best known for lost. the warner bros. television production stars justin theroux, amy brenneman and liv tyler, and the pilot was directed by peter berg and shot by michael slovis, asc .
ann dowd stars in the leftovers. (photo by paul schiraldi / hbo )
“obviously, i am concerned about lighting the scene with best mood and look possible, as well as finding interesting angles, ” he adds. “i will look at a new location and see what the natural light is already doing. you can get some very interesting patterns and glows. sometimes you get shown the light in the strangest of places if you look at it right. ”
in some situations, a prime lens is needed. “i’ve been using the panavision pvintage primes, which i think are fantastic, ” he says. “i use those if we want to get in a really tight space, like a car or a small room, or if i want to go wide open to get shallow depth of field. ”
the versatility of the alexa helps. “in very low light situations, or in scenes where we wanted to go to 48 frames per second, it’s so easy to boost the asa. you still get a clean image, without having to add more light, ” the dp relates. “that is really wonderful. because of the sensitivity of the camera, i haven’t been using as many big, soft sources lately, because then you need to spend more time cutting and shaping the light. with a smaller, more controlled source, you can highlight one area and let the rest fall off. you get an elegant look, and it’s simpler. ”
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the selected credit listing below includes work as a steadicam operator on feature films, television, commercials, music videos, documentaries, and short films .
the bleeding - a - cam / steadicam operator (dp tom priestly jr. / dir charlie picerni )
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local 600 - shot films in park city this year rise to new heights (and emotionally challenging depths). by david geffner. all photos courtesy of the sundance institute unless otherwise noted .
( note: this list was compiled with information supplied by local 600 members prior to the start of the festival. we are not responsible for the omission of films and crewmember names not provided to urltoken by posting date of this article. )
hillary spera employed an all - female camera team to shoot this comedy about a couple who start a band to save their failing marriage .
christian sprenger used everything from webcams to vintage tv broadcast cameras to shoot this story about one man and his beloved tv series .
daniel landin shot this adaptation of a novel by kevin powers about soldiers fighting in iraq .
the yellow birds – alexandre moors - directed this adaptation of a novel by kevin powers about two young men who enlist in the army and are deployed to fight in iraq. after an unthinkable tragedy, the returning soldier struggles to balance his promise of silence with the truth and a mourning mother’s search for peace. the cast includes rising young stars tye sheridan (x - men: apocalypse) and alden ehrenreich (young han solo in a 2018 star wars movie). shot by daniel landin .
dp richard wong describes to the bone as an “intimate and loving” portrait of a young woman struggling with anorexia .
samuel painter shot this documentary for director marina zenovich about the golden state’s debilitating groundwater crisis .
water & power: a california heist – marina zenovich directed and samuel painter shot this feature about california’s convoluted water system, and how its notorious water barons find ways to structure a state - engineered system to their own advantage. this examination into their centers of power shows small farmers and everyday citizens facing drought and a new, debilitating groundwater crisis .
before i fall was directed by ry russo - young and shot by michael fimognari, who used hawk v - lite anamorphic primes to combine thematic scope and a “depth of field that kept us connected to the main character’s singular perspective. ”
fun mom dinner is one of two films dp sean mcelwee has in the 2017 sundance premieres section .
fun mom dinner – one of two films sean mcelwee (morris from america) has in the same premieres section at sundance; this story is about four women (whose kids attend the same preschool class) getting together for a “fun mom dinner. ” when the night takes an unexpected turn, these unlikely new friends realize they have more in common than just marriage and motherhood. together, they reclaim a piece of the women they used to be. directed by althea jones .
mudbound – rachel morrison shot this intense drama set in the post–world war ii south that follows two families pitted against a barbaric social hierarchy and the harsh landscape around them. an epic pioneer story about friendship, heritage and the unending struggle for and against the land, the film stars carey mulligan, mary j. blige, jason clarke, garrett hedlund, and jonathan banks. the all - local 600 camera team included steadicam operator grayson austin, a - camera 1st ac rob baird, a - camera 2 nd ac’s dan mckee and rome julian, b - camera operator rob stenger, b - camera 1 st ac zac sieffert, b - camera 2nd ac cody gautreau, digital utility david stellhorn, d. i. t. nate borck, and still photographer steve dietl .
the incredible jessica james – also shot by mcelwee, the closing night film for the festival was written and directed by jim strouse. jessica james is an aspiring new york city playwright struggling to get over a recent breakup. she sees a light at the end of the tunnel when she meets the recently divorced boone. together, they discover how to make it through the tough times while realizing they like each other – a lot .
for this story about two women, vastly different in age and experience, eric koretz used two alexa cameras, and often changed framing on the fly .
andrei bowden schwartz shot this jack black feature about the world’s only known polka ponzi scheme .
where is kyra? was shot by multiple sundance cinematography award - winner bradford young, asc .
where is kyra? – michelle pfeiffer and kiefer sutherland star in this indie drama about a woman who is pushed to the brink of survival after losing her job. as the months pass, and her troubles deepen, she embarks on a perilous and mysterious journey that threatens to usurp her life. shot by two - time sundance cinematography award - winner bradford young, asc (glory, ain’t then bodies saints) .
sundance veteran ben richardson says he “moved quickly between multiple camera positions, ” to catch the actors in this wilderness drama crossing fresh snow .
stephen f. mccarthy shot this film about one of the darkest chapters in american history .
oklahoma city – stephen f. mccarthy shot this barak goodman - directed nonfiction feature about one of the darkest chapters in american history: the bombing of the alfred p. murrah federal building in oklahoma city in april 1995, considered the worst act of domestic terrorism in the nation’s history. goodman’s film explores how a series of deadly encounters between american citizens and federal law enforcement – including the standoffs at ruby ridge and waco – led to the terrorist act .
emmy winner and oscar nominee buddy squires, asc teamed with sundance cinematography winner bob richman (the september issue) to lens this story about the new heroes of american conservation .
alice gu and legendary water cinematographer don king teamed to tell the remarkable true story of an american icon .
the third film antonio rossi has shot for long - time social documentarian stanley nelson .
cinematographer enrique chediak traveled to cuba with his director (and former nyu classmate) lucy walker to interview the musicians from the landmark 1997 album .
this drama is about a korean - born man (john cho) who finds himself stuck in columbus, indiana .
columbus – elisha christian shot this story about a korean - born man (john cho) who finds himself stuck in columbus, indiana, where his architect father is in a coma. the man meets a young woman (haley lu richardson) who wants to stay in columbus with her mother, a recovering addict, instead of pursuing her own dreams. burdened by the future, they find respite in one another and the [ modernist ] architecture that surrounds them .
one of two features quyen tran has at sundance. tran key - lit actors with headlamps and flashlights, and given the tight budget, “finding the right props became a priority. ”
this film about a 40 - year old man whose life is not what he hoped was shot by jason mccormick .
lemon – jason mccormick lensed this dramedy about a 40 - year old man whose blind girlfriend is leaving him, whose career is going nowhere and whose family is disappointed in him. issac lachman doesn’t how his life became such a “lemon” – a person or thing that proves defective, imperfect, or unsatisfactory. things were supposed to work out differently .
cinematographer lyle vincent describes thoroughbred (one of two features vincent has at sundance this year) as a “thriller with classic noir influences. ” / photo by claire folger
thoroughbred – one of two features guild dp lyle vincent has premiering in park city this year. described by vincent as a “thriller with classic noir influences, ” thoroughbred features anton yelchin’s final performance. “the film was shot on the alexa mini and panavision g - series anamorphic lenses, ” vincent adds. vincent’s guild team was made up of operator jonathan beattie, 1st ac nolan ball, 2nd ac - jason brignola, d. i. t. leonard mezzone and still photographer claire folger .
lyle vincent’s second feature at sundance, bushwick, is a near - future apocalyptic action film shot in a series of very long takes .
danny hiele, working in 2 - perf 35mm, shot the short royal, which became the impetus (and was folded into) this feature that imagines the aftermath of “the big one” in los angeles .
kuso – this project, which grew out of the short royal, imagines the aftermath of “the big one” in los angeles. broadcasting through a makeshift network of discarded televisions, the story is set after a massive earthquake. travel between screens and aftershocks into the twisted lives of those who survived. danny hiele shot the short (which became part of the feature) in 2 - perf 35mm using panavision primo close - focus lenses. his 1 st ac was thomas vandermillen .
quyen tran’s second feature at sundance, written and directed by festival alumnus jeff baena, is a wild comedy about nuns in the middle age .
tarin anderson shot two episodes and patrick cady one episode for this all - female horror anthology. here, anderson and director roxanne benjamin line up a night shot for “don’t fall. ”
eric kress lensed this unique story about a party girl (anne hathaway) and city - wrecking monster .
dagmar weaver - madsen broke many of the traditional rules associated with vr capture for this project with dancer / directors saschka unseld and lily baldwin .
andrzej sekula shot the indie crime - drama that helped put sundance on the map. the festival will screen a new 35mm print for its 25th anniversary .
reservoir dogs – andrzej sekula shot this crime drama – one of the most celebrated independent movies of all time and one that put sundance on the map. they were perfect strangers, assembled to pull off the perfect crime. then their simple robbery explodes into a bloody ambush and the ruthless killers realize one of them is a police informant. but which one? miramax provided a brand - new 35mm print for this special 25th - anniversary screening, which will be followed by an extended q & a with tarantino and producer lawrence bender. the now legendary cast included harvey keitel, tim roth, chris penn, steve buscemi, lawrence tierney, and michael madsen .
shit kids – arlene muller shot this independent television story about the daughter of an earth - shatteringly boring couple, who along with the son of an equally humdrum set of parents, have decided to plot their parents’ murders. muller shot on arri alexa with a panavision 19 - 90mm t2. 8 compact zoom. “alexa lopez at panavision was very kind to give us our gear at a discount so that we could make the shoot happen, ” muller recounts. “the 19 - 90 zoom was perfect for this shoot, which was mostly on sticks and a small amount of handheld. the lens has a certain softness that is absolutely lovely. in addition, we used a tiffen black pro - mist 1 / 8 filter for an extra bit of diffusion. ”
sundance’s only three - time cinematography award winner, ellen kuras, asc, shot this dark story about a killing in a small town .
when the street lights go on – emmy winner and oscar nominee ellen kuras, asc (and the only three - time cinematography winner in sundance’s history) shot this story about the residents of a small town who grapple with the ruthless killing of a young girl and a teacher .
ana amortegui shot this series set in boyle heights with a lot of saturation and contrast to best reflect the vibrant latino culture at its center .
hillary spera used vintage kowa lenses with alexa to visualize her second feature at sundance about a bisexual young woman who rents her spare room out .
strangers – hilary spera’s second project at sundance this year centers on bisexual isobel (zoe chao) who rents out her spare room in order to generate much - needed extra income after a messy and painful breakup. along with her lesbian best friend, isobel navigates the most complicated time in her life – emotionally, sexually, and professionally – while sharing her home with a stranger each episode. spera used vintage kowa lenses coupled with alexa. like my other film at the festival [ band aid ], the goal was to avoid a broad comedy style and achieve a more intimate and natural feeling, ” she explains. “our camera package came from panavision hollywood. ” sundance will debut the first three episodes of this series, written and directed by mia lidofsky .
emerging cinematographer award winner tj williams, jr. shot this streaming series that stars deaf actors playing best friends .
the chances – emerging cinematographer award winner tj williams, jr. shot this streaming episodic series that stars deaf actors, joshua feldman and shoshannah stern. the story focuses on two best friends, kate and michael, who are deaf. they face new challenges in their life after kate gets married and michael tries to let go of his ex - boyfriend. the first season of the show was finished through a successful kickstarter page. sundance will premiere 5 episodes of the series .
sean hayes produced and appears in this series about how comedy has impacted our social and political landscape. jack kney was a dp on the project .
the history of comedy ­– utilizing archival footage punctuated by contemporary interviews with comedy legends and scholars, this is the history of not only what makes us laugh, but also how comedy has affected the social and political landscape throughout history. sundance will premiere two episodes of the upcoming docuseries, spark of madness and going blue, followed by an extended q & a. jack kney was a dp on the project .
arri’s capture sundance with alexa mini small on size, the alexa mini delivers epic images. we’re coming to park city during sundance 2017 for some fun pop - up shoots on main street. here’s your chance to get hands - on and see for yourself how the mini captures stunning visuals. sunday, jan 22 – wednesday, jan 25, 12 p. m. or 3 p. m. each day urltoken
digital workflow house a filmmakers’ lounge exploring the tools for creation sponsored by red, teradek, g - technology, atomos – panels, craft, open house, cocktails sunday, jan. 22 and monday, jan. 23, 10 a. m. – 7 p. m. rsvp required: urltoken
canon live learning sessions get hands - on training with canon’s newest cinema products, including the eos c700, eos c300 mark ii, eos 5d mark iv, me20f - sh, xc15, and more. loren simons, canon’s senior product and sales trainer, and david doko, professional market rep, will lead small group sessions on the topics that matter most to filmmakers .
filmmaker panels with indiewire canon and indiewire have partnered up to host a six - part panel series, featuring interviews with top festival filmmakers. the panels will be recorded live at the canon creative studio and steamed through facebook live via indiewire’s page, so all are invited to join in on the conversation. full schedule below .
sundance ff filmmaker portrait studio with imdbpro canon invites cinematographers, editors, production designers, directors, and other filmmakers of the 2017 sundance film festival to get their portrait taken by photographer michael ori. guests will go home with an 8 - inch by 10 - inch copy of their stunning portraits, printed on the canon imageprograf pro - 1000. imdbpro staff will be on - site and can instantly update your imdbpro profile with your new headshot.
todd mcmullen is an american camera operator and cinematographer . he has worked on a number of notable films including broken arrow , last man standing , the green mile , superman returns and the television series army wives , my generation , friday night lights , prime suspect and the newsroom . 
todd mcmullen is an american camera operator and cinematographer. he has worked on a number of notable films including broken arrow, last man standing, the green mile, superman returns and the television series army wives, my generation, friday night lights, prime suspect and the newsroom.
todd mcmullen is an american camera operator and cinematographer. he has worked on a number of notable films including broken arrow, last man standing, the green mile, superman returns and the television series army wives, my generation, friday night lights, prime suspect and the newsroom.