"Dominik The Daring and Bronco the Brave"

Dominik the Daring was a fun shoot because I really got to push the limits of how much contrast and darkness I could pull off in a shot. This shot is a daytime scene, but it still comes off as very stark. It's the moment that the family comes t

One of the great lessons from working on such a visual film was that there is a lot to be said by the things and not just the people. The shot of the syringe seemed like a simple insert, but it became much more in what it symbolized: The dad contemp

One of our big influences was from "Batman: The Animated Series." I really loved how they used shafts of light pouring in through windows or doorways and tried to use some lessons learned from those images. Given how I have to photograph real p

This is one of my favorite shots partly because it's so simple. Dominik, our main character, wants something, she can see it, and she's going to take it. The simple action of having her lying on the floor to get at her boots starts to say something

On her way out the door Dominik runs past this guy. I guess I just like this shot. I don't know what to say.

The director of this film has somewhat of an infatuation with New York City's Financial District. Both films I've shot for him feature its architecture pretty prominently. For this shot toward the end of Dominik's journey, I composed it with the cit

I don't think I've ever photographed anything this dark before, especially not the emotional climax of a film, but I felt it was necessary because this does have to pay off everything I had been building up to with the lighting. There were many

We ended the film with this fun after credits sequence, which works as just one last hurrah for the amazing set decoration and costume design on this film. We also pulled out our horizontal streak filter, which we often used to invoke the super

Dominik the Daring was a fun shoot because I really got to push the limits of how much contrast and darkness I could pull off in a shot. This shot is a daytime scene, but it still comes off as very stark. It's the moment that the family comes t

One of the great lessons from working on such a visual film was that there is a lot to be said by the things and not just the people. The shot of the syringe seemed like a simple insert, but it became much more in what it symbolized: The dad contemp

One of our big influences was from "Batman: The Animated Series." I really loved how they used shafts of light pouring in through windows or doorways and tried to use some lessons learned from those images. Given how I have to photograph real p

This is one of my favorite shots partly because it's so simple. Dominik, our main character, wants something, she can see it, and she's going to take it. The simple action of having her lying on the floor to get at her boots starts to say something

On her way out the door Dominik runs past this guy. I guess I just like this shot. I don't know what to say.

The director of this film has somewhat of an infatuation with New York City's Financial District. Both films I've shot for him feature its architecture pretty prominently. For this shot toward the end of Dominik's journey, I composed it with the cit

I don't think I've ever photographed anything this dark before, especially not the emotional climax of a film, but I felt it was necessary because this does have to pay off everything I had been building up to with the lighting. There were many

We ended the film with this fun after credits sequence, which works as just one last hurrah for the amazing set decoration and costume design on this film. We also pulled out our horizontal streak filter, which we often used to invoke the super

Directed by Andrew Bryan Scott
A 6 year old girl tries to save her sick dog with superpowers, escaping their babysitter and journeying into midnight Manhattan for medicine.

Sony F5 | Zeiss CP. 2 Lenses