Oscar Cinematography Survey: Here Are the Cameras and Lenses Used to Shoot 42 Awards Contenders
DPs explain how they created the visual language of “Joker,” “Irishman,” “Once Upon a Time in Hollywood,” “Parasite,” and more.
Cinematography
Quentin Tarantino Makes Heartfelt Appearance to Celebrate DP Robert Richardson in Poland
“Joker” won the top prize at Oscar bellwether Camerimage, while the Tarantino cinematographer teased, “He just read me something he wrote.”
Shia LaBeouf’s Process Was Unpredictable, So the ‘Honey Boy’ Crew Learned to Improvise
Cinematographer Natasha Braier and her crew had a unique challenge: How to capture LaBeouf’s one-take performances without triggering PTSD.
The Oscar-Predictive Camerimage Festival Lineup Includes ‘Joker’ and ‘The Irishman’
The Polish cinematography festival that Oscar strategists love and that no DP would miss. This year, 13 titles made the competition cut.
Large Format Cameras Are Changing Film Language, From ‘Joker’ to ‘Midsommar’
With the advent of cameras like the Alexa 65, a new generation of large format filmmaker is using its immersive qualities in exciting ways.
100 Years of Cinematography: 13 Films That Show the Evolution of Filmmaking
The New York Film Festival celebrates the ASC’s 100 year anniversary with a 13 film retrospective.
‘Ad Astra’: How Cinematographer Hoyte van Hoytema Made the Moon and Planets Avant-Garde
The thrilling Moon Rover battle/chase required a special 3D rig, and the look of deep space needed custom 35mm lenses.
Why the Best Cinematographers Are Struggling to Find Films to Shoot
Roger Deakins and Rachel Morrison on how the world of franchise movies and low-budget indies make it a hard time to be a cinematographer.
8 Ways the ‘Deadliest Catch’ Camera Crew Survives the Hardest Job In TV and Still Gets a Great Image
Inside the gear, skill, and physical endurance needed for 30-foot swells, 20 hour days, and shooting at night.
Emmy Nominated Cinematography: The Cameras, Lenses, and Looks of the Year’s Best TV Shows
From “Game of Thrones” to “Fleabag,” 16 cinematographers discuss the gear they chose to create the look of the 2019 Emmy contenders.
This Is Not ‘Groundhog Day’: Creating the Look and Visual Language of ‘Russian Doll’
Leslye Headland and DP Chris Teague take IndieWire inside how they brought “Alice in Wonderland” into a realistic East Village setting.
‘The Lion King’: How Caleb Deschanel Shot a Virtual ‘Circle of Life’ With Jon Favreau
Despite his unfamiliarity with VR and CG, the six-time Oscar nominee was in his element shooting the photoreal Disney remake.
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Are you happy Heidi Klum is returning to ‘America’s Got Talent’ for ‘The Champions’ Season 2? [POLL]
