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patrick. @imPatrickT

please excuse me i need to return some 4K UHD discs | .mov & .jpeg |

Joined October 2009
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patrick.
@imPatrickT
18 Jul 2024
i cut together the best egg scenes in movies
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movie magic is sometimes just the wind picking up at the perfect moment
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i love how Spielberg went back to DUEL for this and didn't rely on score to elevate the tension. crazy to say because it's John Williams he's leaving on the table, but nearly every action set piece in this film has no score. the camera does the work.

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my filmmaking takeaway from DISCLOSURE DAY was blast a space with light and let actors perform. so much of Spielberg's efficiency comes from deep depth of field. you can get 4 shots like this out of one when you're not worried about focus. now we light less, shoot shallow, and cut it up.
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i love shallow depth of field when it's right for the scene. when Spielberg has to rack focus movement he does it to create three different beautiful compositions out of one take.
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DISCLOSURE DAY I was expecting a Spielberg greatest hits experience, and instead got a cerebral injection of new magic tricks from the master of it all. I don’t know how he does it, and nobody ever will. This is a very special and undeniably wonderful film. See it in 70MM.
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monitor shot from a film we're cooking up.
behind the scenes frame from a new film Patrick Tomasso is shooting with the GFX Eterna 55

ALT behind the scenes frame from a new film Patrick Tomasso is shooting with the GFX Eterna 55

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THE SOCIAL RECKONING with a Fincher color grade.
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SOCIAL NETWORK / SOCIAL RECKONING were both shot by Jeff Cronenweth which is why the 2010 warmth works so well. i agree with pushing a new look for a sequel, but it's fun to see it exist in the same world tonally.
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the iPhone is what made me fall in love with photography. seeing Apple double down today on gen-AI imagery and AI photo reframing sucks, but the real nightmare is potentially turning the most popular camera in the world into a slop machine. make real things.
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THE ODYSSEY on Nolan’s camera monitor.
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cinephile who is going to be okay
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real photos i took of places that look rendered
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took my camera to the mall at golden hour.
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this is what real filmmaking looks like and nothing will ever replace it
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photos i took in the suburbs.
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i think this is exactly what young audiences are feeling at the cinema this weekend
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the making of BACKROOMS with Kane Parsons
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how they filmed the BACKROOMS for real with cinematographer Jeremy Cox
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Here's cinematographer Jeremy Cox and Kane Parsons explaining how they shot the live action found footage sequences in BACKROOMS.
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Why the big light stays on in the BACKROOMS.
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