| Who is it? | Cinematographer, Visual Effects, Camera Department |
| Birth Day | April 22, 1950 |
| Birth Place | California, United States |
| Age | 73 YEARS OLD |
| Birth Sign | Taurus |
| Education | AFI Conservatory |
| Occupation | Cinematographer |
| Known for | Good Night, and Good Luck There Will Be Blood |
| Title | ASC |
| Awards | Emmy Award for Outstanding Cinematography (CBS Schoolbreak Special: The War Between The Classes; 1986) Academy Award for Best Cinematography (There Will Be Blood; 2008) ASC Award (There Will Be Blood; 2007) Independent Spirit Award for Best Cinematography (Good Night, and Good Luck; 2005) |
Robert Elswit, a renowned Cinematographer, Visual Effects, and Camera Department professional, is estimated to have a net worth of $950,000 in 2024. With a successful career spanning several decades, Elswit has established himself as one of the leading talents in the United States film industry. Known for his exceptional skills in capturing stunning visuals and creating captivating visual effects, Elswit has worked on numerous critically acclaimed projects. He has collaborated with several prominent directors, earning him accolades and recognition in the industry. With his remarkable contributions and continued success, Elswit has secured a significant net worth, reflecting his talent and dedication in his craft.
Elswit has cited early independent filmmaker John Cassavetes as a major influence. Elswit is a graduate of the University of Southern California School of Cinematic Arts and worked there as a teaching assistant in the 1970s.
Elswit was born in California. An early short film he worked on, was a 1982 TV adaptation of the Ray Bradbury short story All Summer in a Day.
Elswit received his first Academy Award nomination for Best Cinematography in 2006 for his work on the movie Good Night, and Good Luck. He lost that Oscar to Dion Beebe for Memoirs of a Geisha. Two years later, Elswit would again be nominated and this time win the Oscar for Best Cinematography, for his work on There Will Be Blood.
Elswit is a fierce defender of shooting with film, and whenever possible refuses to use digital cameras. Images shot digitally, he says, have "no texture, no grain." He’d eventually start shooting in digital, starting with Nightcrawler.
