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Robert Elswit, Part 1 (Cinematographer of 'Mission: Impossible - Ghost Protocol' and 'Rogue Nation') (2019) ... Self - Guest 2018 Close Up with the Hollywood Reporter (TV Series) Self - Cinematographers (2018) ... Self 2017 Remembering Reno: Reflections on the Making of 'Desert Hearts' (Video documentary short) Self
1 de feb. de 2007 · Elswit has worked on two other Clooney films: Good Night, and Good Luck and Syriana. These days the DP has his usual full platter. He was the cinematographer on Shine A Light, the soon-to-be-released Rolling Stones documentary directed by Martin Scorsese; and Redbelt, about a martial arts expert who goes into films, with David Mamet scripting and helming.
MUSIC I USE: https://bit.ly/3qCRt7uEDITING SOFTWARE I USE: http://bit.ly/2LZ60LoSTOCK FOOTAGE: https://bit.ly/3jZHBC0In this episode of Cinematography Style ...
22/04/1950 - California (Estados Unidos) Film "Star Trek: The Motion Picture" (1979) - Fotografía de Efectos Visuales Film "Star Wars: Episode V - The Empire Strikes Back" (1980) - Asistente de Fotografía Pinturas Mate Film "E.T. the Extra-Terrestrial" (1982) - Operador de Cámara Efectos Visuales Film "Star Wars: Episode VI - Return of the Jedi" (1983) - Operador de Cámara Miniaturas y ...
Robert Christopher Elswit, ASC (born April 22, 1950) is an American cinematographer. He has collaborated with Paul Thomas Anderson on six of his films and won the Academy Award for Best Cinematography for There Will Be Blood. Read more on Wikipedia. Since 2007, the English Wikipedia page of Robert Elswit has received more than 506,770 page views.
Robert Elswit. Cinematographer: There Will Be Blood. Robert Elswit is an American cinematographer. He is best known for Boogie Nights (1997), Magnolia (1999), Good Night, and Good Luck (2005), There Will Be Blood (2007), Mission: Impossible - Ghost Protocol (2011), Inherent Vice (2014), and Nightcrawler (2014). Elswit frequently works with director Paul Thomas Anderson and has worked with ...
5 de nov. de 2015 · Robert Elswit is unquestionably one of the most versatile cinematographers currently shooting major motion pictures. With incredible ease, he’s able to shift from gargantuan action pictures like the two most recent Mission: Impossible entries to something smaller and more personal like the edgy indie Nightcrawler.
