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Jun 10, 2024 · Working on a soundstage made it easier for Elswit to light the scene transition, which involved him turning on practicals and making the light come through the windows. When Tom carries...
- Jazz Tangcay
Legendary cinematographer Robert Elswit explains the process behind shooting the arresting images of Netflix's show 'Ripley' with Andrew Scott and Dakota Fanning. Variety Artisans presented by...
- 9 min
- 45.4K
- Variety
Jun 6, 2016 · I go through some of Robert Elswit's cinematography techniques to help you understand his unique style. Just to be clear: Robert Elswit changes his style to suit the movies he shoots. The...
Feb 27, 2019 · We got to sit down with Oscar-winning cinematographer Robert Elswit, who also has the distinction of being the only man to shoot two "M:I" movies -- "Ghost Protocol" and "Rogue Nation!" On this...
- 56 min
- 570
- LightTheFuse-TheOfficialMission:ImpossiblePodcast
DESCRIPTION: This week we’re revisiting one of our biggest interviews, this time with legendary Oscar-winning cinematographer Robert Elswit, who shot both “Mission: Impossible - Ghost Protocol” and “Mission: Impossible - Rogue Nation.” We get plenty of details about the making of both films, including (of course) what it was like to ...
Jun 12, 2024 · The logistics of how to film and frame in-camera this fatal bludgeoning for maximum (no pun intended) impact required Elswit to get inventive. “It was one of those things where we were like: How do we hit him without seeing it exactly? And how do we make it work?
Apr 30, 2022 · King Richard was shot in ARRIRAW in Open Gate mode on the 4:3 sensor, and composed for spherical 2.39:1 aspect ratio. “I didn’t want the film to look overly stylised, but did want to keep away from any sort of clinical digital quality” Elswit says.
