DAVID TUTTMAN Director of Photography Davidtuttman.Com

Total Page：16

File Type：pdf, Size：1020Kb

DAVID TUTTMAN Director of Photography davidtuttman.com PROJECTS DIRECTORS STUDIOS/PRODUCERS WU-TANG: AN AMERICAN SAGA Various Directors HULU / 20TH CENTURY STUDIOS Season 2 IMAGINE TELEVISION Gail Barringer, Alex Tse, RZA BLINDSPOT Mark Pellington NBC / WARNER BROS Seasons 1 – 4 Marcos Siega Martin Gero, Greg Berlanti Karen Gaviola Sarah Schechter, Chad McQuay Rob Hardy Various Directors LUKE CAGE Steve Surjik NBC / MARVEL / ABC TV Series — Jamaica Unit Cheo Hodari Coker, Gail Berringer THE FOLLOWING Marcos Siega FOX / WARNER BROS Series Liz Friedlander Kevin Williamson, Michael Stricks Adam Davidson David Von Ancken Various Directors THE MYSTERIES OF LAURA McG NBC / WARNER BROS Pilot Greg Berlanti, Jeff Rake, Mike Cedar DAMAGES Dan Attias SONY Series Lawerence Trilling Todd A. Kessler, Glenn Kessler Greg Yaitanes Daniel Zelman, Mark Baker Tim Busfield Various Directors WILD CARD Tim Matheson FOX TV / USA Pilot Cary Brokaw, Stephen Godchaux Mitch Engel ROYAL PAINS Matt Penn USA / NBC UNIVERSAL Series Constantine Makris Rich Frank, Paul Frank Wendy Stanzler Andrew Lenchewski, John Rogers Allison Liddi Brown Michael Rauch, Chris Sacani, Kathy Ciric Various Directors THREE RIVERS Dan Attias CBS Pilot Carol Barbee, Curtis Hanson Carol Fenelon, Ted Gold, Randy Sutter GOSSIP GIRL Tony Wharmby CW / WARNER BROS Series Michael Fields Josh Schwartz, Stephanie Savage Various Directors Leslie Morgenstein, Bob Levy, Joe Lazarov THE WEDDING ALBUM Andy Tennant FOX Pilot Bob Greenblatt, David Janollari Wink Mordaunt, Mark Baker LAW & ORDER Jace Alexander NBC / UNIVERSAL Series Martha Mitchell Dick Wolf, Wendy Battles, Jeff Hayes David Platt Walon Green, Peter Jankowski Various Directors INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

Copy Link

Recommended publications

DAN HILAND Re-Recording Mixer
DAN HILAND Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS CATCH-22 David Michod Paramount Television INSATIABLE Lauren Gussis CBS Television Studios BATWOMAN Caroline Dries WBTV Gary Dauberman/Mark SWAMP THING Verheiden DC Universe THE RED LINE Cairlin Parrish WBTV ALL AMERICAN April Blair WBTV LOVE IS Mara Brock Akil OWN SABRINA THE TEENAGE WITCH Jonathan Schmock Viacom Productions TITANS Greg Berlanti DC Entertainment THE LEFTOVERS Damon Lindelof HBO THE FLASH Greg Berlanti WBTV EMPIRE Lee Daniels Imagine Television CINNAMON GIRL (TV Movie) Gavin O'Connor Fox 21 WITCHES OF EAST END Maggie Friedman Lifetime ARROW Greg Berlanti WBTV RAY DONOVAN (Pilot) Ann Biderman Showtime Networks MOB CITY Frank Darabont TNT Originals POLITICAL ANIMALS Greg Berlanti WBTV HOUSE OF LIES Matthew Carnahan Showtime Networks HART OF DIXIE Leila Gerstein WBTV THE WALKING DEAD Frank Darabont (2010) (2012/2014/2015/2016) AMC DARK BLUE Danny Cannon/Doug Jung TNT Originals IN PLAIN SIGHT David Maples USA Network CHASE Jennifer Johnson WBTV NO ORDINARY FAMILY (Pilot) Greg Berlanti ABC Studios THE WHOLE TRUTH Tom Donaghy WBTV J.J. Abrams FRINGE (Pilot) (2009) WBTV Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.7825 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS LIMELIGHT (Pilot) David Semel, WBTV HUMAN TARGET Jonathan E. Steinberg WBTV EASTWICK Maggie Friedman WBTV V (Pilot) Kenneth Johnson WBTV TERMINATOR: THE SARAH CONNER Josh Friedman CHRONICLES WBTV CAPTAIN
[Show full text]
1 Bound by Oath | Season 2 | Episode 5: Under Color of Law John: In
1 Bound By Oath | Season 2 | Episode 5: Under Color of Law John: In 1958, at 5:45 in the morning, Chicago police burst into the home of James and Flossie Monroe and dragged them out of bed at gunpoint. And they scared the hell out James and Flossie’s six children. Houston Stevens: The children we made a lot of noise. We screamed. We did a lot of yelling to alert all the neighbors. Cause we didn't know who these were. It was 14 white guys armed with pistols drawn. Jacqui Abrams: They pulled out a picture and showed me a picture. “Is this James Monroe?” Of course it is! Yes, that's him, but who are you? Ralph Stevens: All I can say is that I tried to block it out like a nightmare because it felt like, and I lived that way for many, many years growing up, like it was a nightmare. It was denial -- my way to suppress and deny how traumatic it was. John: James Monroe had not committed the crime he’d been accused of, and the police did not have a warrant to search his home or arrest him. So the family sued, seeking damages from the officers. But rather than suing in state court, James and Flossie did something that Congress had said they could do way back in 1871. They filed suit against the officers in federal court under Section One of the Ku Klux Klan Act. Today Section One is known as Section 1983. And it’s one of the most important and most frequently litigated civil rights laws on the books.
[Show full text]
“Local Governments and Firearms: Avoiding a Jam”
A “Local Officials: Stronger, Together” Podcast Publication “Local Governments and Firearms: Avoiding a Jam” (The materials herein become effective September 1, 2021.) (Updated portions, including “permitless” or “constitutional” carry changes, are highlighted in gray.) Scott Houston Member Liaison [email protected] 512-791-4158 www.tmlirp.org (Version 2: Last Updated June 2021) Page 1 of 46 Table of Contents Page What is the “Local Officials: Stronger, Together” Podcast Series and why should I be listening?....................................................................................................... 4 What’s in this paper? ...................................................................................................................... 5 What does the Texas “licensed carry” law authorize? .................................................................... 5 What does the so-called "constitutional" or "permitless" carry legislation authorize?....................5 In what places is a person prohibited by state law from carrying a firearm? ................................. 6 What type of signage is required to provide notice that handgun isn't allowed?...........................10 Handgun without a license.........................................................................................................10 Handgun with a license..............................................................................................................11 How has the statutory prohibition against carrying a firearm onto the premises
[Show full text]
2:04-Cv-00873-EAS-MRA Doc #: 12 Filed: 03/16/05 Page: 1 of 6 PAGEID
Case: 2:04-cv-00873-EAS-MRA Doc #: 12 Filed: 03/16/05 Page: 1 of 6 PAGEID #: <pageID> IN THE UNITED STATES DISTRICT COURT FOR THE SOUTHERN DISTRICT OF OHIO EASTERN DIVISION DIRECTV, INC., : Plaintiff, : Case No. C2:04-cv-873 v. : Judge Sargus ROBERT WARD, : Magistrate Judge Abel Defendant. : REPORT AND RECOMMENDATION This matter is before the Magistrate Judge on Plaintiff Directv, Inc.’s December 14, 2004 motion for default judgment against Defendant Robert Ward (doc. 6). Directv, Inc. (“Directv”) brings this action pursuant to the Federal Communications Act of 1934 (“FCA”), 47 U.S.C. § 605, and the Electronic Communications Privacy Act (“ECPA”), 18 U.S.C. § 2510, et seq. A hearing was held on March 11, 2005 regarding Directv’s motion for default judgment; Ward did not appear. Directv requests that this Court award statutory damages of $10,000 for each pirate access device purchased and possessed by Ward, in violation of 18 U.S.C. §§ 2511(1)(a) and 2520(c)(2), and 47 U.S.C. § 605(a). Directv also seeks reasonable attorney’s fees and costs. I. Facts. When a defendant is in default, the factual allegations in the complaint, except for those relating to liability are taken as true. See Wright, Miller & Kane, Federal Practice and Procedure § 2688 (3d 1998) and Fed. R. Civ. P. 8(d). 1 Case: 2:04-cv-00873-EAS-MRA Doc #: 12 Filed: 03/16/05 Page: 2 of 6 PAGEID #: <pageID> Directv encrypts its satellite transmissions to prevent unauthorized viewing of its satellite television programming. Ward purchased, used, and distributed illegally modified Directv access cards and other devices (“pirate access devices”).
[Show full text]
Zach-Woodlee-Choreo
zach woodlee director / choreographer selected credits contact: (818) 509-0121 FILM The Boys in the Band (*to be released) Choreographer Netflix Productions, LLC. Love, Simon Choreographer Dir. Greg Berlanti / Fox 2000 Dumplin’ Choreographer Dir. Anne Fletcher / Netflix Productions LLC. Peter Rabbit Choreographer Dir. Will Gluck / Columbia Pictures Drive She Said (*to be released) Choreographer Dir. Joey Syracruse Annie Choreographer Dir. Will Gluck / Sony Pictures Hot Pursuit Choreographer Dir. Anne Fletcher/MGM Glee: The 3D Concert Movie Choreographer Dir. Kevin Tancharoen / 20th Century Fox Real Steel Choreographer Dir. Shawn Levy / Walt Disney Pictures Life as We Know It Choreographer Dir. Greg Berlanti / Josephson Entertainment Eat Pray Love Choreographer Dir. Ryan Murphy / Columbia Pictures Starstruck Choreographer Dir. Michael Grossman / Disney The Back- Up Plan Choreographer Dir. Alan Poul / CBS Films Bedtime Stories Choreographer Dir. Adam Shankman / Gunn Films The Proposal Assistant Choreographer Dir. Anne Fletcher / Touchstone Pictures Fired Up Choreographer Dir. Will Gluck / Screen Gems 17 Again Assistant Choreographer Dir. Burr Steers / New Line Cinema 27 Dresses Choreographer Dir. Anne Fletcher / Spy Glass Get Smart Choreographer Dir. Pete Segal / Warner Bros. Marc Pease Experience Choreographer Dir. Todd Louiso / Paramount Vantage Hairspray Assistant Choreographer Dir. Adam Shankman / New Line Step Up Assistant Choreographer Dir. Anne Fletcher / Buena Vista 40-Year-Old Virgin Assistant Choreographer Dir. Judd Apatow / Disney Stuck on You Assistant Choreographer Dir. Farrelly Bros. / 20th Century Fox TELEVISION High School Musical: The Musical Choreographer Disney + A Christmas Story Live Choreographer Dir. Scott Ellis / FOX The Flash Choreographer The CW Girl Boss Choreographer Netflix Grease: Live Co-Producer / Choreographer FOX / Paramount Television Glee (Season 6) Co-Producer / Choreographer FOX / Ryan Murphy Productions Bones Choreographer Dir.
[Show full text]
Why Expectation Damages for Breach of Contract Must Be the Norm: a Refutation of the Fuller and Perdue "Three Interests&Quo
Nebraska Law Review Volume 81 | Issue 3 Article 2 2003 Why Expectation Damages for Breach of Contract Must Be the Norm: A Refutation of the Fuller and Perdue "Three Interests" Thesis W. David Slawson University of Southern California Gould School of Law, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/nlr Recommended Citation W. David Slawson, Why Expectation Damages for Breach of Contract Must Be the Norm: A Refutation of the Fuller and Perdue "Three Interests" Thesis, 81 Neb. L. Rev. (2002) Available at: https://digitalcommons.unl.edu/nlr/vol81/iss3/2 This Article is brought to you for free and open access by the Law, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Nebraska Law Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. W. David Slawson* Why Expectation Damages for Breach of Contract Must Be the Norm: A Refutation of the Fuller and Perdue "Three Interests" Thesis TABLE OF CONTENTS 840 I. Introduction .......................................... Principal Institutions in a Modern Market II. The 843 Economy in Which Contracts Are Used ................ A. The Institution of the Economic Market: Contracts 843 as Bargains ....................................... Institution of Credit and Finance: Contracts as B. The 845 Property .......................................... 846 the Institutions' Needs ....................... III. Meeting 846 A. Providing a Remedy for Every Breach ............. Contracts Enforceable as Soon as They Are B. Making 847 M ade ............................................. Has Compensating the Injured Party for What He C. 848 ost ............................................... L 848 Damages Under the Expectation Measure ...... 1. 849 2. Damages Under the Reliance Measure ......... 849 a.
[Show full text]
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
[Show full text]
Master Thesis
1 Master Thesis THE VALUE OF METACRITIC AND ITS RELATIONSHIP WITH VIDEO GAME SALES FLAVIO TONA SHNEIDER MIKE-E January, 2020 2 3 Contents 1 INTRODUCTION ................................................................................................................................ 5 2 LITERATURE REVIEW ..................................................................................................................... 8 3 MARKET ANALYSIS ....................................................................................................................... 13 3.1 METASCORE ............................................................................................................................ 14 3.1.1 GRADE CONVERSION .................................................................................................... 17 3.2 HARDWARE MARKET ............................................................................................................ 19 3.3 SOFTWARE MARKET ............................................................................................................. 20 4 - VALUE ..................................................................................................................................................... 21 4.1 CONSUMER ....................................................................................................................................... 21 4.2 - VALUE FOR THE INDUSTRY AND USAGE ......................................................................................... 22 4 METHODOLOGY
[Show full text]
Cops Use Polygraph Less Often
Friday, November 29, 2013 Cops use polygraph less often Examiners now questioning job hopefuls, fewer crime suspects BY DUAA ELDEIB After decades of relying on controversial polygraph examinations to help solve crimes, the Chicago Police Department has drastically scaled back on giving so-called lie-detector tests in the course of criminal investigations. In what appears to be a shift in focus, the department’s polygraph unit examiners, who previously worked under the forensic services division, have been relocated to human resources, where their primary responsibility is administering the tests to police officer candidates. The examiners’ new unit follows industry standards for conducting polygraphs. The move was said to be temporary, but one year later, the examiners are still with the personnel unit. “The temporary detail was made to address the backlog in pre-employment screenings needs,” police spokesman Adam Collins said. “There hasn’t been a move away from polygraphs as a part of criminal investigations.” Collins did not say how long the three Center on Wrongful Convictions client Nicole examiners would remain with human Harris, to whom a polygraph examiner lied, resources, which has seen a significant saying she’d failed the test. increase in the number of pre-employment polygraphs. He said only that it would be Yet the number of criminal polygraphs has “until the need has been met.” The examiners dropped considerably, from about 400 in continue to conduct criminal polygraphs as 2011 to 50 in the first eight months of 2013. the need arises, Collins said. The timing of the examiners’ move to the personnel unit corresponded with a Tribune investigation into the polygraph unit’s role in obtaining false confessions.
[Show full text]
Introduction to Monetary Damages
CHAPTER 1 Introduction to Monetary Damages Chapter Contents § 1.01 Introduction § 1.02 Historical Background to Monetary Damages § 1.03 General Principles of Monetary Damages [1] Determining Whether Injuries May Be Compensated by Damages [a] Proximate Cause [b] The Standard of Certainty [2] Calculating the Damages Award [a] Compensatory Damages [i] Market Value Measure [ii] Lost Opportunity Measure [b] Unjust Enrichment [c] Augmented Damages [i] Punitive Damages [ii] Statutory Enhanced Damages [d] Interest [e] Attorneys’ Fees and Costs § 1.01 Introduction Monetary damages are a form of judicial remedy that can be awarded to a claimant in compensation for an injury or loss wrong- fully inflicted.1 This form of remedy is most commonly referred to simply as “damages.” The essence of damages is the payment of money as a release from civil liability. 1 See 1 Dobbs Law of Remedies, 3 (2d ed. 1993). 1-1 (Rel. 24) § 1.01 INTELLECTUAL PROPERTY DAMAGES 1-2 Because damages in Anglo-American jurisprudence are awarded by a jury of lay persons under the supervision of a judge, it is neces- sary to have certain guiding principles by which the judge can direct the jury. The rules that were developed by the judiciary to guide juries in their damages deliberations are essentially the law of damages. As one commentator has said: “The law of damages consists of the rules, standards, and methods used by the courts for measuring in money the compensation given for losses and injuries.”2 The law of intellectual property damages did not develop in a vac- uum; it is very much a product of this general law of damages.
[Show full text]
Netflix Adds to Original Shows with Sony Deal 15 October 2013
Netflix adds to original shows with Sony deal 15 October 2013 programming to make itself a preferred location for on-demand streaming. "We were spellbound after hearing Todd, Glenn and Daniel's pitch, and knew Netflix was the perfect home for this suspenseful family drama that is going to have viewers on the edge of their seats," said Netflix vice president of original content Cindy Holland. Netflix scored a recent hit with its political drama "House of Cards," tossing conventional TV wisdom out the window when it released a full season in one fell swoop early this year. The Netflix company logo is seen at Netflix headquarters The series, which was nominated for a 2013 Emmy in Los Gatos, CA on Wednesday, April 13, 2011 for best drama, joins a recent spate of original Netflix programming that includes new episodes of "Arrested Development," plus the series "Orange is the New Black" and "Hemlock Grove." Netflix on Monday announced a deal with Sony to create a psychological thriller series for the online Netflix sees original programming as part of a streaming and DVD service, ramping up original formula to gain and hold subscribers at its $7.99-a- programming to win subscribers. month fee that covers a vast catalog of pre- released TV shows and movies. "Damages" creators Todd Kessler, Daniel Zelman, and Glenn Kessler will begin production of a © 2013 AFP 13-episode first season of the show from Sony Pictures Television early next year. The yet-unnamed series will broadcast exclusively on Netflix, according to the California-based Internet company.
[Show full text]
Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners.
[Show full text]