Cinematography

DP Sam McCurdy on Bringing Noir to ‘Game of Thrones’ and ‘Lost In Space’

By  Brad Gullickson 

We chat with the cinematographer about the lovely landscape of darkness needed to bring big screen art to the small screen.

DP Jeff Cronenweth on Selecting the Tools to Shoot ‘Tales from the Loop’

By  Brad Gullickson 

We chat with the cinematographer about how determining color and focus are essential to achieving narrative.

The Effect of the Voyeur Camerawork in ‘The Invisible Man’

By  Emily Kubincanek 

Focusing on empty spaces and positioning frames from outside a scene amplifies this terrifying tale of being watched.

The Perfection of the Date Scene in ‘Punch-Drunk Love’

By  Margaret Pereira 

Paul Thomas Anderson’s masterpiece is both romantic and rageful.

Darius Khondji on Ditching His Comfort Zone to Shoot ‘Uncut Gems’

By  Brad Gullickson 

We chat with the cinematographer about accomplishing the grit of ‘Uncut Gems’ and how it pushed him unlike any other movie.

Eben Bolter on the Terror and Pleasure of Multi-Camera Filmmaking in ‘Avenue 5’

By  Brad Gullickson 

We chat with the cinematographer about the tools required to shoot a cinematic, sci-fi comedy series.

Cinematographer Michael Grady on Framing ‘The Morning Show’

By  Brad Gullickson 

We chat with the cinematographer about finding artistry in a world in which we all think we’re experts.

Cinematographer Caleb Deschanel and VFX Supervisor Robert Legato on How ‘The Lion King’ was Shot, Not Just Animated

By  Brad Gullickson 

“They call it virtual reality, but at a certain point, you put on the goggles, and the environment is realistic enough that you feel that it’s very real.”

Lawrence Sher on Rendering a Recognizable Gotham in ‘Joker’

By  Brad Gullickson 

We chat with the cinematographer about replicating cinematic memory to achieve emotional reality.