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 Again. Then, in succession, he lensed the Scott Cooper horror flick Antlers, the Apple prestige drama Pachinko and Todd Field’s Tár, picking up an Oscar nomination for the latter. But with True Detective: Night Country, Hoffmeister returns to a previous specialty–unsettling subzero horror. Hoffmeister’s work on AMC’s The Terror followed an ill-fated 19th century artic expedition. He’s back to frigid […]
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 at all budget levels are increasingly looking back at celluloid for inspiration. Phenomena once seen as drawbacks to be minimized—grain, chromatic aberration, anamorphic distortion, lens flares, halation—have not only become desired, but, if hordes of YouTube camera gurus are to be believed, “cinematic.” That is, these elements associated with this particular image formation workflow are essential to what constitutes “cinema,” […]
How do you film something that’s only about 2.5 millimeters long? What about thousands of those little somethings—pavement ants, in this case—all working together to dismantle a hot dog, perched amidst on a New York City sidewalk? That’s a question Bill Markham and his team had to figure out when putting together National Geographic’s A Real Bug’s Life, available now on Disney+. Ostensibly a sort of “real life” tribute to A Bug’s Life, which celebrated its 25th anniversary last year, A Real Bug’s Life follows different bugs in their natural habitats, all in service of teaching viewers how they live […]
Mel Eslyn, the head of Duplass Brothers Productions and the director of TIFF 2022 premiere Biosphere, makes her first directorial foray into episodic television with Penelope. Penelope tells the story of an alienated 16-year-old girl who venture into the wilderness to escape from society. Nathan M. Miller, who served as cinematographer on Eslyn’s Biosphere and has worked on several other Duplass Brothers productions, took on the job again for Penelope. Below, he emphasizes the series’ naturalist aesthetic and no-frills approach to lighting. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the […]
Conbody VS Everybody sees Debra Granik (Stray Dog) returning to documentary after 2018’s Leave No Trace and also breaking into the world of episodic series. The film follows Coss Marte as he creates a gym inspired by his own prison work outs in hopes of breaking the cycle of recidivism. Two episodes of Conbody VS Everybody will premiere at Sundance 2024. Below, series cinematographers Sean Hanley, Kefentse Johnson and Eric Phillips-Horst share how they all got involved in the film, how their personal styles blended with Granik’s and the challenges of shooting a series over many years. See all responses to […]
Issues concerning freedom of speech and the First Amendment intersect with the world of rap music in As We Speak, the directorial debut from J.M. Harper. The documentary follows Bronx-based rapper Kemba as he unpacks how legal battles involving rap lyrics, both in the U.S. and abroad, might shape the the future of his craft. Married cinematographer duo Logan Triplett and Allison Anderson Triplett discuss the challenges and rewards of collaborating on this project as a unit—the first time they’ve done so on a feature film—with Logan penning answers for both parties. See all responses to our annual Sundance cinematographer […]
In the midst of the chaotic Alberto Fujimori dictatorship, two girls and their mother plan to leave Lima for the United States, but they first attempt to reconnect with the estranged father. Such is the premise of Reinas, the third feature film by Klaudia Reynicke (Love Me Tender, The Nest). A proper emulation of 1992 Lima was of particular importance to the filmmakers. Below, cinematographer Diego Romero Suarez-Llanos dives deep into the lighting schemes the filmmakers used to pull it off. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer […]
Sundance 2024 Midnight selection In A Violent Nature puts a twist on the slasher film by sticking with its killer rather than its victim. Shot in woods of Northern Ontario, much of the film consists of one figure navigating that locale rather than advancing the story in the tried-and-true methods associated with the genre. Below, cinematographer Pierce Derks discusses the difficulties of shooting in such a remote location and how, with limited equipment, the crew found a setup that achieved the look that they wanted. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up […]
A companion to her 2020 film A Thousand Cuts, Filipino-American documentary filmmaker Ramona S. Díaz returns to Sundance with And So It Begins, which chronicles recent Filipino elections following the end of right-wing president Rodrigo Duterte’s term, which could either bring about the restoration of democracy or an increased shift toward nationalist leaders. Cinematographer Bruce Sakai reveals how he was hired to shoot the project due to increased COVID restrictions, as well as the decision to employ a “very verité approach.” See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being […]
Each summer, the sisters at the center of Alessandra Lacorazza’s Sundance 2024 premiere In the Summers visit their father in Las Cruces, New Mexico. The film spans several formative years of the sisters’ lives, and their father sometimes struggles to keep pace. Below, cinematographer Alejandro Mejia, whose recent credits include Stolen Youth, discusses shooting the film, including how his love of photography books helped inform the film’s look. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being […]