#patrick tomasso

[They] talk about working with [Emmanuel Lubezki on Digger], his understanding of cinematography and cameras, and how the industry has changed over the years making movies.

Shot entirely [by Steven Soderbergh] on the Sony a9 III mirrorless camera, this psychological horror movie puts you in the POV of a ghost, silently observing a family in their new home -and discovering they’re not alone.

This is a look at The Last of Us episode three, “Long, Long Time”, and [...] what makes the show so great and perhaps even better than the video game. We talk about Bill and Frank, how the show injects love and hope into a dark and sad story, and how to do an adaptation properly.

Remember when movies used to look good? Rich shadows, bold colors, and depth. But now? A lot of films and shows look flat, dull, and lifeless. [...] Let's talk about dynamic range, lighting, and why intentional choices matter more than ever.

In this short film essay, [Patrick talks] about shallow depth of field in movies and TV [...].

This is a video essay on the cinematography of Succession on HBO. Let’s break down how the camera tricks you into thinking it’s all reactive and loose, when in fact it’s extremely calculated and precise.