Sheldon J. Walker | Cinematographer

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Works
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"Lombardi"

This is a movie about a bong. You've got to have an opening bong intro shot! Here you see the tail end of a long dolly in on "Lombardi" the highly revered blue bong among this film's group of friends. I placed it conspicuously amidst all the le

Most of the film is an extended night scene when the three main characters go out to smoke in their car. Since the scene takes a lot of twists and turns we ended up shooting practically 360 degrees around the vehicle. This is just one of the sh

We spent a while in pre-production deciding how we would cover the extensive dialogue that happens in the car. The final product was really an amalgam of techniques including handheld, singles, two shots, French overs, and pans. Here we catch a mome

I think the choice of aspect ratio is one of the best ways to bring meaning out of the photography. For me it's never an arbitrary choice. We did 2.35:1 (widescreen) here because we knew that we would have lots of shots of three or more people in th

We used a four point star filter for the entire night scene because we knew we would have a ton of hard point sources of light from the headlights, police lights and flashlights. I wanted to make all of those sources feel more present and impos

It was pretty funny that with all the coverage we got, there were hardly any shots of the three boys together, partially because one of them had to leave the car. When all was said and done there was somewhat a sense of relief to put them all back i

Since this film is a comedy, after the extended night scene we needed something to lighten the mood. Here the shift to something photographically lighter matches the change in the content.

This is a movie about a bong. You've got to have an opening bong intro shot! Here you see the tail end of a long dolly in on "Lombardi" the highly revered blue bong among this film's group of friends. I placed it conspicuously amidst all the le

Most of the film is an extended night scene when the three main characters go out to smoke in their car. Since the scene takes a lot of twists and turns we ended up shooting practically 360 degrees around the vehicle. This is just one of the sh

We spent a while in pre-production deciding how we would cover the extensive dialogue that happens in the car. The final product was really an amalgam of techniques including handheld, singles, two shots, French overs, and pans. Here we catch a mome

I think the choice of aspect ratio is one of the best ways to bring meaning out of the photography. For me it's never an arbitrary choice. We did 2.35:1 (widescreen) here because we knew that we would have lots of shots of three or more people in th

We used a four point star filter for the entire night scene because we knew we would have a ton of hard point sources of light from the headlights, police lights and flashlights. I wanted to make all of those sources feel more present and impos

It was pretty funny that with all the coverage we got, there were hardly any shots of the three boys together, partially because one of them had to leave the car. When all was said and done there was somewhat a sense of relief to put them all back i

Since this film is a comedy, after the extended night scene we needed something to lighten the mood. Here the shift to something photographically lighter matches the change in the content.