Thu, Nov 10, 2022
Here, the cinematographer and director reflect on the challenges they encountered when lighting and shooting underwater cave scenes; their responsibility to capture a sense of cultural accuracy when depicting real-life events; and the importance of trusting their operators while shooting with multiple cameras.
Sat, Nov 12, 2022
Kim shares how he shot the film from a variety of different perspectives; the techniques he used to make the audience feel the passage of time; his unconventional approach to moonlit exteriors; and the cinematography advice he would give to his younger self now that he's further along in his impressive career.
Tue, Nov 15, 2022
Friend shares how he and Berger crafted battle sequences with an emphasis on immersing audiences in the action; how they introduced bold and unusual colors to the film's palette to buck period setting conventions; how they tracked the actors across their location's muddy terrain; and how they photographed nighttime scenes in which military flares streak across the sky.
Tue, Nov 22, 2022
Yang discusses how her penchant for colored lighting suited the film's material; the challenges of filming pivotal scenes in a swimming pool and at a lake; her approach to lighting faces and various skin tones; and how she and Jusu aimed to imbue the film with a sense of heightened reality.
Thu, Dec 1, 2022
In this lively interview, the cinematographer and director discuss what's made their collaborative dynamic successful; the photographic references that influenced their depiction of the various eras of Elvis' career; the complex lighting set-ups that helped them re-create the artist's iconic performances; and their unique method of rehearsing camera movement.
Thu, Dec 8, 2022
In this deep-dive discussion, Miranda breaks down how he handled the complex six-camera set-up used in the film's fighter-jet sequences; how he and the crew coordinated with the Navy to devise shooting schemes; how he sought to emulate the cinematography of director Tony Scott's original film; and how being both persistent and present served him throughout the production.
Sat, Dec 10, 2022
During this roundtable conversation, Kingston, Whitaker and Nickell discuss a wide range of topics, including how to control light in daylight exteriors; how best to approach emotionally weighty material; shooting large format in order to get closer to your show's characters; when and how to use "heavy-lifter" drones; and how certain modern technological advances may be causing productions to move too fast.
Tue, Dec 13, 2022
In this interview, Khondji discusses why it's important to talk to a director about a project before you read the script; shares how he approached Bardo's meticulous long takes; explains the ethos of the film's visual language; and reflects on some of the most important aspects of cinematography that are seldom taught in film school.
Sat, Dec 17, 2022
In this interview, Braier discusses the practical and creative challenges of shooting on location at the New York Times building; how she worked to create depth in white walls; how she manipulated and matched fluorescent lights; and how she created interactive lighting while shooting on the production's car stage.
Wed, Dec 21, 2022
In this interview, Hoffmeister, Field and Prieto discuss the film's color-grading process; their innovative approach to a much-buzzed-about single-shot scene set in The Juilliard School; how they worked with Arri Rental Berlin to customize lenses for the project; and why a restrained approach to camera movement was crucial to the film's subdued style.
Tue, Dec 27, 2022
In this lively interview, the filmmakers discuss how they established the film's unique look during preproduction; how they shot scenes in single takes to recover time lost by Covid-19 complications; and how they used Technocranes and cable cams to shoot one especially difficult and dangerous swamp location.
Wed, Dec 28, 2022
In this interview, Libatique discusses the vibrant-yet-naturalistic color palette of Don't Worry Darling; his approach to practical lighting in The Whale; his depiction of both femininity and the male gaze; and the importance of honoring exterior lighting when shooting interior scenes.
Thu, Dec 29, 2022
In this in-depth interview, Sandgren discusses his unique collaborative dynamic with Chazelle; his fondness for the "imperfections" of analog film and anamorphic lenses; his naturalistic approach to lighting; and how he used overexposure and push processing to achieve Babylon's colorful, grainy and "heated" look.
Mon, Jan 3, 2022
In this interview, Seiple discusses creating an eclectic set of looks for the multiple universes shown in the film; his lighting strategies for locations including an IRS facility and the Evelyn character's home; and what went into his collaboration with a second green screen unit based in Paris.