Tag Panavision

Linda Wu / OK/NOTOK

A SHOT IN THE DARK Cinematographer Linda Wu reveals how OK/NOTOK used a single locked-off camera position to tell a near-future story of tolerance and human connection. Please share an outline of the production? OK/NOTOK is  a dark comedy-drama set…

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Simona Susnea / Sweet Sue

SWEET SIMPLICTY Cinematographer Simona Susnea shares how keeping things simple on Sweet Sue helped elevate both the story and build the look of Leo Leigh’s wry comedy-drama. Sweet Sue, Leo Leigh’s fiction feature debut, is a funny – if occasionally…

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Knock at the Cabin

Cabin fever The apocalypse comes knocking in master of thrills M. Night Shyamalan’s trope-twisting horror. Cinematographer Lowell A. Meyer, who shares a DP credit with Jarin Blaschke, reveals how he helped craft the film’s spine-chilling visuals. The haunted-cabin-in-the-woods cliché gets…

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Justin Derry / Bruiser

Father figures Bruiser, Miles Warren’s striking feature debut, grapples with toxic masculinity and paternal conflict, as witnessed by a 14-year-old boy. Behind the lens on the coming-of-age drama was cinematographer Justin Derry, who reveals how he developed the film’s rich…

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Sensor sizes

SENSOR SENSIBILITY There are more lens and sensor options to choose from than ever before. Exploring how the two can work together in harmony, cinematographers share their thoughts on the large-format phenomenon and their preferred combinations. All things being equal,…

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Frank Lamm / Andor

Rebel with a cause The latest live-action Star Wars spin-off, Andor, eschews the tried-and-tested StageCraft formula of its Disney+ predecessors. Block three DP Frank Lamm takes us into the heart of the action, shooting both on stage at Pinewood Studios…

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Vehicle Rigs

CAMERAS AT SPEED From superhero stunts in a circling single take to bloody revenge on a wildly spinning waltzer, the challenges of filming in moving vehicles are no barrier to a DP’s creativity.  When Stephen Murphy BSC started the upcoming…

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