Cinematographers

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“If You’re in the Right Location at the Right Time, You Shouldn’t Need Much Light”: DP Greig Fraser on The Mandalorian

On the set of The Mandalorian

Laboring in a greenscreen expanse for months on end never seemed like a particularly pleasant way of working. Not for the crew, confined to a windowless stage with walls roughly the same hue as green Tropical Skittles. Not for the…  Read more

By Sep 17, 2020

“The Key Word on Set was ‘Darker'”: DP Jeremy Osbern on The Big Ugly, The First Feature to Shoot on a RED Gemini

On the set of The Big Ugly

Writer-director Scott Wiper’s The Big Ugly is the best kind of genre film, a crime movie aware of the traditions in which it’s working but not beholden to them; combining elements of ’40s and ’50s crime fiction (Jim Thompson seems…  Read more

By Jul 21, 2020

DPs Denis Lenoir and Yorick Le Saux on Wasp Network, Arri Alexa vs Sony VENICE and Dividing Cinematographer Duties

Penélope Cruz in Wasp Network

The sunny subterfuge of Wasp Network, about a knotty web of anti-Castro groups and Cold War residuals, is a relief from the blue skin, suits and shadows of heavy political thrillers. It’s an Olivier Assayas (Irma Vep, Personal Shopper, Non-Fiction)…  Read more

By Jul 15, 2020

Reflections from Quarantine and Beyond, Part Two: Six Cinematographers on Their Lives During Lockdown

Ellen Kuras shooting in Times Square

Following his previous check-in with some of the world’s leading cinematographers about their lives during quarantine, Daniel Eagan returns with six more reports from directors of photography about how their lives and work are being affected by this moment of…  Read more

By Jul 14, 2020


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