Daniel Satinoff

““Tokyo Vice” Season 2, Episodes 3, 4, 9 and 10 Showrunner: @jtsawthis EP: @alanpoul Director: Josef Kubota Wladyka Shot on @arri Alexa MiniLF with @panavisionofficial lenses @tokyovicemax @streamonmax @arri @panavisionofficial #cinematography #tokyo #emmys #minilf #arrialexaminilf #panavision #hseries #primo

@yamaonna_movie from Director @takeshifukunaga . Starring @anna_yamada_ @masatoshi_nagase_official Shot on Alex MiniLF with Canon K35s @arri @canonusa @sanwa_cine_equipment @ericnyari #arri #alexaminilf #canonk35 #alexa

I had the privilege to work with an amazing crew who supported me in so many ways as I took on shooting episodes 6 and 7 of @tokyovicehbomax . It was an incredible experience to get to shoot all over Tokyo with such incredible people. Thank you @jtsawthis @alanpoul @saaatch @alextheboden @hbomax for trusting me and supporting me along the way. Thank you @dieguesz for teaching me so much about cinematography and life. Thank you @dieguesz @jgrillo310 @k_yanagijima1979 for setting the tone of the show and showing me how it’s done. Thank you to director Josef Kubota Wladyka for your faith in me, your collaboration and always keeping it JDM. Thank you @steve.e.andrews for always keeping us on time and in good spirits. Thank you most of all to the amazing Tokyo Vice crew! @panavisionofficial @arri #panavisionlenses #minilf #alexa A Camera Operator: @tetsuoliverkato B Camera Operator/Steadicam: @kojiscottishida A Camera 1st AC: @yasushimiyata B Camera 1st AC:: @naoki_takahashi A Camera 2nd AC: @arinkomoe B Camera 2nd AC: @makoto_mk26 Bilingual Camera Assistant: @alexanderwitmer Cinematography Translator: @nobu_arakawa DIT/VTR: Yasuyuki Shitara DIT/VTR Assist: @fuya_imai Stills Photographer: James Lisle Dailies Colorist: @buttonstealer Colorist: @sean_dunckley Gaffer: Michiaki Kamochi Best Boy: Seiichiro Mieno Electrician: Hiroshi Tanabe Electrician: Takumi Amadaira Electrician: Akito Saito Electrician: Masaya Kotabe Electrician: Daishi Harada Electrician: Tsuyoshi Akahane Electrician: Yusuke Suzuki Key Grip: Hiro Kakuhari Best Boy: Satoshi Tsuyuki Grip: Tsuneyuki Aiko Grip: Shinichi Otsuka Grip: Takayuki Denno Grip: Akira Kanno Grip: Kazuki Tanabe

Our film “Ha-chan, Shake Your Booty!” had its World Premiere at the 2026 Sundance Film Festival. Thank you Josef Kubota Wladyka for trusting me to shoot this story. So amazing getting to watch it for the first time in its completed form with 1300 other people. We laughed, we cried, we shook our booties. Could not have been a more magical way to attend my first Sundance. @sundanceorg @arri @sanwa_cine_equipment @cookeoptics @hachanshakeyourbooty #sundancefilmfestival2026

Love you @mfcandies

Happy Holidays from our pets to yours

Theo is happy to report he is no longer a bastard

SET YOUR ALARMS!!⚡️♥️ Meet me on my YouTube Channel TOMORROW at 3PM EST./12PM PST. I have something special for you… SUBSCRIBE today at the link in my bio! _____ #Electric #Love #DreamCity #BeWhoYouAre😎

#DOP Daniel Satinoff (@dsatinoff ) takes us #behindthescenes of #TokyoVice S2, detailing this season’s even bolder look and his inspiring journey along the way. “I was brought onto the pilot of Tokyo Vice by DOP Diego Garcia and I was deeply included in his ideas for the look of the show. For personal reasons he ended up needing to step off of his second block of episodes. Due to COVID related visa complications and border closures, it was impossible for production to bring in a DP to replace him from outside of Japan. Diego knew that I was a DP on my own, so he and [director] Josef pushed to have me step in. The studio ultimately agreed and it was a huge opportunity for me. Though stressful, it ended up being an incredible experience and they ended up asking me back for S2 with co DP Corey Walter. Tokyo Vice has a very strong look and for S2. We wanted to push it a bit more and create a bit more dynamism in the camera movement. In our first meeting together Corey and I talked a lot about wanting to use more zooms, both as their own means of changing perspective and also hiding them within other camera movement. Japan is an exceedingly weird and beautiful place. There’s such a mix of color in some places but also a grayness in the more mundane parts of Japanese life. I wanted to lean into the color and excitement of the underworld and feel how that permeates all of Jake’s life in the show. This project was by far the largest, most complex production I’ve ever shot. I had previously shot small indie films, music videos and commercials, and I have worked on some very big productions as a DIT. This was a great opportunity to bring those two worlds together. Japan can be particularly challenging for large productions and most of the locations are exceedingly small or difficult to access, so coming from a background of being small and nimble helped me lean into that challenge. At the same time, the show has a lot of scale, and having worked on some big TV shows and movies, I was able to draw on what I learned from DPs like Diego to also not shy away from a big or complex lighting or camera setup.”

Surprise we got engaged!