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Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Announcing the 2025 BEST IN SHOW PRIZE to Emrys Black @eblackfilm. Emrys’ team created seven incredible recreations from Nosferatu, and previously won in the MVP Award category. Congrats Emrys from Lawrence Sher, ASC @lawrencesherdp and the entire ShotDeck team!

A special shoutout to Sony @sonycine for gratuitously providing an FX6 Full-frame Cinema Camera with FE 28-70mm F2 GM Lens and OWC @poweredbyowc for adding on a CFx Reader w/ Type A Adaptor & 960GB CFx Media Card

Please look out for an email from us by the end of the week with info on your prize! And thank you to everyone you competed in this year’s contest. If you haven’t heard from us yet about your prize please allow the weekend for us to get in contact with you, thank you!

Visualizing your creative projects just got simpler.

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Happy Valentine’s Day! We’re sending some love to the ShotDeck Community with the launch of our IOS app!

Sign up for your free 2 Week Trial on ShotDeck.com and download the app on iPhone or iPad to start browsing over 1 Million Shots anytime, anywhere.

App Store Download Link available in our bio now, Google Play store coming soon.

Started using the app and have comments, issues, or suggestions for how to make it better? We’re all ears! Email us at info@shotdeck.com

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

ShotDeck x ASC Lookback: The Iron Claw (2023)

Cinematographer Mátyás Erdély, ASC, HCA @matyaserdelydop made his first American feature with writer-director Sean Durkin, bringing a deliberately raw and organic visual approach to the story of the Von Erich wrestling family. Having grown up in Hungary reading American Cinematographer, Erdély had long associated Panavision glass with a specifically American cinematic tradition.

Erdély and Durkin rejected a designed look in favor of one that emerged from the film’s physical world: production design, locations, wardrobe, and tungsten sources shaped the image. Shot on 35mm with Primo optics, the film was captured primarily on the Panaflex Millennium XL2, with an Arri 235 added for the wrestling sequences. Erdély credits his outsider perspective on the Von Erich world as a creative asset that kept the photography fresh throughout production.

Read more about Erdély at TheASC.com and check out the shots from the film on ShotDeck now.
#ShotDeck #ASC #MatyasErdely #TheIronClaw

The Color Palette of Project Hail Mary (2026)
Dir: Phil Lord @phillordy and Christopher Miller @chrizmillr
DP: Greig Fraser ACS, ASC @greigfraser_dp
Editor: Joel Negron, ACE
Colorist: David Cole @davecole_colour @fotokem_la
Production Designer: Charles Wood
Costume Designers: David Crossman, Glyn Dillon @glyn__dillon

The Color Palette of Project Hail Mary (2026)
Dir: Phil Lord @phillordy and Christopher Miller @chrizmillr
DP: Greig Fraser ACS, ASC @greigfraser_dp
Editor: Joel Negron, ACE
Colorist: David Cole @davecole_colour @fotokem_la
Production Designer: Charles Wood
Costume Designers: David Crossman, Glyn Dillon @glyn__dillon

The Color Palette of Project Hail Mary (2026)
Dir: Phil Lord @phillordy and Christopher Miller @chrizmillr
DP: Greig Fraser ACS, ASC @greigfraser_dp
Editor: Joel Negron, ACE
Colorist: David Cole @davecole_colour @fotokem_la
Production Designer: Charles Wood
Costume Designers: David Crossman, Glyn Dillon @glyn__dillon

The Color Palette of Project Hail Mary (2026)
Dir: Phil Lord @phillordy and Christopher Miller @chrizmillr
DP: Greig Fraser ACS, ASC @greigfraser_dp
Editor: Joel Negron, ACE
Colorist: David Cole @davecole_colour @fotokem_la
Production Designer: Charles Wood
Costume Designers: David Crossman, Glyn Dillon @glyn__dillon

The Color Palette of Project Hail Mary (2026)
Dir: Phil Lord @phillordy and Christopher Miller @chrizmillr
DP: Greig Fraser ACS, ASC @greigfraser_dp
Editor: Joel Negron, ACE
Colorist: David Cole @davecole_colour @fotokem_la
Production Designer: Charles Wood
Costume Designers: David Crossman, Glyn Dillon @glyn__dillon

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

COMMENT the best movies of the 70s that we missed below! Follow for more Cinema Through the Decades

1. Legend of the Mountain (1979)
2. Duel (1971)
3. The American Friend (1977)
4. Lucifer Rising (1974)
5. Deep Red (1975)
6. Stalker (1979)
7. Claire’s Knee (1970)
8. Badlands (1973)
9. Tess (1979)
10. Case for a Rookie Hangman (1970)

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

ShotDeck Spotlight: “WUTHERING HEIGHTS” (2026)

Media Type: Movie
Dir: Emerald Fennell
DP: Linus Sandgren ASC, FSF @linussandgren_dp
Production Designer: Suzie Davies
Costume Designer: Jacqueline Durran
Editor: Victoria Boydell
Colorist: Matt Wallach @captaincinema @company_3

This Sunday we launch the very first DEEP-LIGHT Cine Club.

Inspired by one of Autumn Durald Arkapaw’s most influential films, we’ll be revisiting MALCOLM X with legendary cinematographer Ernest Dickerson in a live online conversation and open Q&A with the community.

No stage. Just cinematographers sitting together talking process, images, stories, and craft.Pull up a chair and bring all your questions.
Free and open to the public.

Powered by ShotDeck, who will also be giving away a few subscriptions and prizes to attendees joining us live.
Register through the link in bio.#malcolmx @shotdeck#cineclub #cine-club#through-their-eyes @ernest_dickerson

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck Spotlight: WHITNEY MUSEUM OF AMERICAN ART, ALVIN AILEY AMERICAN DANCE THEATER - “ECHOES OF AILEY” (2024) @whitneymuseum

Media Type: Commercial
Dir: Ezra Hurwitz @ezrahurwitz
DP: Andy Catarisano @andycatarisano
Production Designer: Grace Beck @gracekbeck
Editor: Matt Carter @matt_carter
Colorist: Joseph Bicknell @josephbicknell @company_3
Prod. Co: m ss ng p eces @mssngpeces

Additional Credits via m ss ng p eces Instagram:
Sound Design & Mix: Michalis Anthis @michalisanthis @machinesound.co
VFX: Significant Others @significantothersus

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

ShotDeck x ASC Lookback: Wake Up Dead Man: A Knives Out Mystery (2025)

Cinematographer Steve Yedlin, ASC @steveyedlin has collaborated with writer-director Rian Johnson @riancjohnson for decades, shaping a visual partnership that stretches from Brick to the Knives Out franchise. Known for his technically rigorous yet story-driven approach, Yedlin’s work spans projects including Looper, Star Wars: The Last Jedi, and Glass Onion.

For Wake Up Dead Man, Yedlin crafted the franchise’s darkest visual language yet, embracing Gothic textures, shifting natural light, and precisely choreographed sun-and-shadow cues to mirror the film’s tension. Through extensive prep, custom light-control software, and highly repeatable lighting systems built into the church and rectory sets, he and Johnson created an image that feels both meticulously engineered and emotionally intuitive.

Read more about Yedlin at TheASC.com and check out the shots from the film on ShotDeck now.

#ShotDeck #ASC #SteveYedlin #WakeUpDeadMan

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

The entire Neon Genesis Evangelion (1995) series joins The End of Evangelion (1997) on ShotDeck as part of this week’s massive anime drop!

Explore 5,500+ fully tagged and searchable shots now!

COMMENT a hidden gem film we should highlight next

Film: THE GIRL WITH THE NEEDLE (2024)
Dir: Magnus von Horn @magnusvonhorn
DP: Michał Dymek @m_dymek
Editor: Agnieszka Glińska
Production Designer: Jagna Dobesz @jagna_dobesz_production_design
Costume Designer: Malgorzata Fudala, Zuzanna Kot
Colorist: Emil Eriksson

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✂️: @see_scott_live