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“A Frankenstein Set of Lenses”: DP Matthew Libatique on Maestro

Bradley Cooper and Matthew Libatique on the set of Maestro

25 years ago, Pi—a $70,000 indie about an obsessive mathematician shot on 16mm black and white reversal stock—put cinematographer Matthew Libatique on the map. In the intervening quarter century, Libatique has earned three Academy Award nominations and shot multiple films…  Read more

By Mar 6, 2024

Women in the Wilderness: How Nat Geo’s Queens Aims to Close the Gender Gap in Natural History Filmmaking

Two women in a jeep film an elephant on the plains.Queens director of photography Sophie Darlington and director Faith Musembi film elephants (Photo: courtesy of National Geographic for Disney/Rachael Kinley)

When National Geographic’s Janet Han Vissering and Wildstar Films’s Vanessa Berlowitz got the idea to make Queens, a six-part natural history series about female animals made by an all-woman production crew, they knew it would be a challenge. Only something…  Read more

By Mar 6, 2024

112 Days in Iceland: DP Florian Hoffmeister on True Detective: Night Country

Two women shine their flashlights while standing in a dark, snowy landscape.Kali Reis and Jodie Foster in True Detective: Night Country

The diversity of cinematographer Florian Hoffmeister’s output makes it difficult to typecast him. The German DP won an Emmy for his work on a BBC version of Great Expectations and followed with the Rowan Atkinson spy spoof Johnny English Strikes…  Read more

By Feb 1, 2024

The “Film Look” and How The Holdovers Achieved It

A masked cameraman adjusts focus on a crowded set, just behind a young man standing with his back to the camera.Eigyl Bryld, Dominic Sessa and Alexander Payne on the set of The Holdovers

A working digital colorist or cinematographer in 2024 is likely all too familiar with one particular question: “Can we get the ‘film look’?” A decade into the age of digital sensors as the increasingly dominant and default shooting format, filmmakers…  Read more

By Jan 31, 2024


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