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Michael Slovis was the cinematographer of Breaking Bad, beginning with the second season, and he received critical acclaim for his work throughout the series. Critics appreciated the bold visual style adopted by the TV series. Although series creator Vince Gilligan and Slovis wanted to shoot Breaking Bad in CinemaScope, Sony and AMC did not grant them permission. Gilligan cited Sergio Leone's Westerns as a reference for how he wanted the series to look.[63] Slovis received four Primetime Emmy Award nominations for Outstanding Cinematography for a One Hour Series and Outstanding Cinematography for a Single-Camera Series.[64] Breaking Bad was shot on 35 mm film because of the robustness of the equipment and to keep a focus on shooting scenes economically. It also allowed for a later digital transfer to 4K Ultra HD resolution.[65] By the end of the fifth season, episodes had cost upwards of US$6 million to produce.[37] Kelley Dixon was one of the few editors of Breaking Bad and edited many of the series' "meth montages". For the montages, she would use techniques such as jump cuts and alternating the speed of the film, either faster or slower.[66] For her work, she received six Primetime Emmy Award nominations for Outstanding Single-Camera Picture Editing for a Drama Series and won the award in 2013.[64] [edit] Michael Slovis was the cinematographer of Breaking Bad, beginning with the second season, and he received critical acclaim for his work throughout the series. Critics appreciated the bold visual style adopted by the TV series. Although series creator Vince Gilligan and Slovis wanted to shoot Breaking Bad in CinemaScope, Sony and AMC did not grant them permission. Gilligan cited Sergio Leone's Westerns as a reference for how he wanted the series to look.[63] Slovis received four Primetime Emmy Award nominations for Outstanding Cinematography for a One Hour Series and Outstanding Cinematography for a Single-Camera Series.[64] Breaking Bad was shot on 35 mm film because of the robustness of the equipment and to keep a focus on shooting scenes economically. It also allowed for a later digital transfer to 4K Ultra HD resolution.[65] By the end of the fifth season, episodes had cost upwards of US$6 million to produce.[37] Kelley Dixon was one of the few editors of Breaking Bad and edited many of the series' "meth montages". For the montages, she would use techniques such as jump cuts and alternating the speed of the film, either faster or slower.[66] For her work, she received six Primetime Emmy Award nominations for Outstanding Single-Camera Picture Editing for a Drama Series and won the award in 2013.[64]
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