Work About Stills

Contact

Work About Stills

Director of Photography

Contact

INSTAGRAM – @D MROUTH

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
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📝Last one from this short film so I thought I’d share the other ECU we did just because they’re fun. The lighting setup for this was the same as Josh’s MCU except we

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 Going into this short one of my big concerns was maintaining lighting continuity. Because of the way our western set was oriented it meant that the sun’s path would make main

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 A wider angle from the previous post. We moved the camera to be a little bit more of a 3/4 shot and kept positioned @jrobproductions so he’d be backlit by the sun. Then we bac

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 Here’s another example of the Daytime EXT lighting technique I mentioned in my previous post about ‘wrapping’ the sun to create a more natural shape instead of usi

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 I’ve never really been a fan of using lights for Daytime EXT’s as it takes a lot of power to compete with the sun and I think it often looks unnatural. Instead, I prefer

🎥 “Westworld to Yuma” (2017)
Dir: @ryanconnolly
.
📝 At the risk of sounding pretentious, I want to share a quote from one of my favorite composers, Arvo Pärt, regarding music because I think it applies to film as well.
.
“I i

(reposting with a different frame)
🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project
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📝 Most of us have heard this famous Orson Welles quote: "The absence of limitations is the enemy

🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project
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📝 Most of us have heard this famous Orson Welles quote: "The absence of limitations is the enemy of art." Competing in a 48 Hou

🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project
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📝Part of the stipulation for the 48 Hour Film Race is that you're handed a genre on the first night of the race and you are challenged wi

🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project
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📝When building out the look of a scene I think of lighting in four main elements, one of the most important of which is placement. Where

🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project
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📝 When lighting a scene I usually prefer to light the room and make small adjustments per shot as we go. I love to create little pockets

🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project
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📝 I tend to prefer big, soft rectangular eyelights that reveal a lot of detail in the iris. But in low key situations I'm a sucker for a

🎥“The Spy Who Loved Us” (2018) – A 48 Hour Film made for the Dallas 48 Hour Film Project⠀
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📝Something I've always admired about Deakins' work is his use of silhouette. As a student of his I often find myself looking for oppor

It’s been a while. Finally getting around to processing some photos from earlier this year. This was taken on the set of a Western feature set in the 1800’s that I had the pleasure of working on back in April.
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Expired Neopan 400 hom

“A smooth sea never made a skilled sailor.”
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#acros100 hand developed in #d76 shot with a #hasselbladxpan rented from @filmobjektiv
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#analog #film #blackandwhitefilm #xpan #filmphotography #acros #blackandwhiteisworththefight #b

Mary Beth in 3:1. In love with the Xpan and in love with her.
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#acros100 hand developed in #d76 shot with a #hasselbladxpan rented from @filmobjektiv
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#analog #film #blackandwhitefilm #xpan #filmphotography #acros #blackandwhiteisworththefi

Swingin’ for the stars 💫💖
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Expired #ilfordpanf developed at home in #d76 and shot through my beloved #konicahexaraf
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#analogphotography #shootfilm #panf #blackandwhitefilm #buyfilmnotmegapixels #shootfilm #astros #budweiser #worldse

Spent last weekend shooting another great spot for Budweiser and the Houston Astros with a great group of collaborators. A few days before, we learned that last year’s World Series spot we helped create with @infiniteagency won an Addy. Pretty

There’s just something about shooting on film that I can’t get away from. Capturing and preserving these little inconsequential moments on a physical, permanent medium is intoxicating to me, and I’m not entirely sure why. Maybe it&r

“Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” -FB
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#acros100 shot through my new #konicahexar and hand developed in #d76
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#analog #film #acros #shootfilm #filmsnotdead #fil

Let's Work Together

Daniel Routh - Director of Photography

daniel@danielrouth.com

720.308.3796

Dallas/Ft. Worth, Texas

IMDB / Instagram / Twitter

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720-308-3796 dmrouth@gmail.com

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝Last one from this short film so I thought I’d share the other ECU we did just because they’re fun. The lighting setup for this was the same as Josh’s MCU except we

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 Going into this short one of my big concerns was maintaining lighting continuity. Because of the way our western set was oriented it meant that the sun’s path would make main

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 A wider angle from the previous post. We moved the camera to be a little bit more of a 3/4 shot and kept positioned @jrobproductions so he’d be backlit by the sun. Then we bac

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 Here’s another example of the Daytime EXT lighting technique I mentioned in my previous post about ‘wrapping’ the sun to create a more natural shape instead of usi

🎥 “Westworld to Yuma” (2017)
Dir: @ryan_connolly
.
.
📝 I’ve never really been a fan of using lights for Daytime EXT’s as it takes a lot of power to compete with the sun and I think it often looks unnatural. Instead, I prefer

🎥 “Westworld to Yuma” (2017)
Dir: @ryanconnolly
.
📝 At the risk of sounding pretentious, I want to share a quote from one of my favorite composers, Arvo Pärt, regarding music because I think it applies to film as well.
.
“I i

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