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DP Brett Pawlak’s vision for Spider-Man: Brand New Day

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DP Brett Pawlak’s vision for Spider-Man: Brand New Day

DP Brett Pawlak on grounding Spider-Man: Brand New Day in natural light, practical suit design, and 17 years collaborating with Destin Cretton.

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Building a nearly silent crime drama in Motor City

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Building a nearly silent crime drama in Motor City

Cinematographer John Matysiak on shooting Motor City's nearly dialogue-free story, real in-camera stunts, and building its 1970s Detroit look from film tests.

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Bringing indie instincts to Voicemails for Isabelle

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Bringing indie instincts to Voicemails for Isabelle

DP Julia Swain on faking the Golden Gate Bridge, rigging a real tour bus, and bringing indie instincts to Netflix's Voicemails for Isabelle

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DP Brett Pawlak’s vision for Spider-Man: Brand New Day

Building a nearly silent crime drama in Motor City

Bringing indie instincts to Voicemails for Isabelle

Michael Bauman on building horror for Monster: The Ed Gein Story

Shooting mud, fog and firelight in A Knight of the Seven Kingdoms

Matt Ball on shooting in remote regions for Tucci in Italy

Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear

Lyle Vincent on lighting the darkness of The Beast in Me

Christian Sprenger on building the horror-comedy Widow’s Bay

Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look

Suburban street photography and voyeurism in DTF St. Louis

Smoke, spotlights, Silicon Valley secrets in The Audacity

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