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  1. en.wikipedia.org › wiki › Peter_DemingPeter Deming - Wikipedia

    Peter Deming, ASC (born December 13, 1957) is a Lebanese-born American cinematographer, known for his collaborations with directors like Sam Raimi, David Lynch, Wes Craven, and Jay Roach. He won the 2002 Independent Spirit Award for Best Cinematography for Mulholland Drive , and was nominated for a Primetime Emmy Award for his work on the third ...

    • 1982–present
  2. www.imdb.com › name › nm0005687Peter Deming - IMDb

    Peter Deming was born in Beirut, Lebanon. He is a cinematographer and actor, known for Mulholland Drive (2001), The Menu (2022) and The Continental (2023). Menu

    • January 1, 1
    • 1 min
    • Beirut, Lebanon
  3. Jan 6, 2023 · Peter Deming talks about shooting The Menu, a comedy horror film starring Ralph Fiennes, on the Sony VENICE camera. He discusses his choices of lenses, lighting, and blue screen for the restaurant scenes.

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  4. Peter Deming is an American cinematographer, known for his collaborations with directors like Sam Raimi, David Lynch, Wes Craven, and Jay Roach. He won the 2002 Independent Spirit Award for Best Cinematography for Mulholland Drive, and was nominated for a Primetime Emmy Award for his work on the third season of Twin Peaks. See his biography, filmography, awards, and crew on TMDB.

  5. Peter Deming. Cinematographer: Mulholland Drive. Peter Deming was born in Beirut, Lebanon. He is a cinematographer and actor, known for Mulholland Drive (2001), The Menu (2022) and The Continental (2023).

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  7. Sep 25, 2017 · Peter Deming is at a slight disadvantage when talking about “Twin Peaks: The Return” compared to most other cinematographers discussing their latest work. He’s only familiar with the project ...

  8. Jun 4, 2021 · The cinematographer of the Showtime series The Good Lord Bird, which tells the story of abolitionist John Brown's raid on Harper's Ferry in 1859, talks about his visual style and challenges. He shares how he used camera dollies and cranes to capture the authentic and watchable look of the era, and how he avoided Steadicam for a stylized shot in episode 1.

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