‘We’re Going to Fly in This Movie’: ‘Elvis’ Cinematographer Mandy Walker on Shooting the King
Walker tells IndieWire about making the Baz Luhrmann biopic — and whether or not she can say anything about “Snow White” yet.
Walker tells IndieWire about making the Baz Luhrmann biopic — and whether or not she can say anything about “Snow White” yet.
Cinematographer and director Christina Alexandra Voros tells IndieWire about how she showcases the “main character” of the modern-day Western: The land.
Director Joseph Kosinski and cinematographer Claudio Miranda discussed their secret weapon for shooting inside the jet fighter cockpits: the Sony Rialto Camera Extension System.
How I Shot That: The world’s best cinematographers tell IndieWire how they created the look of their highly anticipated features at Cannes.
To connect the camera kinetically and emotionally to the players, the cinematographers utilized a secret weapon: the rollerblade camera.
Cinematographer Greg Middleton discusses the complex camerawork behind Marc and Steven’s trip through the Egyptian afterlife.
“You plan it out on a map with little soldier figurines, and work it out like a puzzle, one kill and one layer at a time,” cinematographer Jarin Blaschke told IndieWire.
Cinematographer Marshall Adams unpacks other sequences from S6 opening episode, including falling ties, uncooperative ants, and one perfectly shadowy drain pipe.
17 directors of photography spoke with IndieWire about the continuing resonance of Gordon Willis’ shadowy, practically lit cinematography
Wegner is only the second woman to be nominated for Best Cinematography, following Rachel Morrison in 2018.
The unheralded DP talks to IndieWire about his latest collaboration with Edgar Wright in creating the colorful horror of 1960s London.
Cinematographer Janusz Kaminski: “It’s a love story, so why be subtle? It would have been wrong to make it gritty and bleach out the colors.”