Cinematographers Rachel Morrison and Ari Wegner on Their Career Parallels

In 2018 Rachel Morrison became the first woman cinematographer to receive an Oscar nomination for her work on “Mudbound.” It’s a path that “The Power of the Dog” cinematographer Ari Wegner would appear likely to follow, having received a nomination from the ASC earlier this week. Yet that parallel wasn’t what Morrison zeroed in on when she recently met Wegner for the first time over Zoom, as you can see from the interview below. Morrison, after inquiring about Wegner’s journey from the camera department to shorts to indie features — and professing her appreciation for the Wegner-shot Sundance breakout “Zola” —...
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New Edition of American Cinematographer Arrives

Seamus McGarvey, ASC, BSC’s camerawork in Cyrano showcased on cover; profile on Jeff Cronenweth, ASC details career. Our February 2022 issue presents a special focus on the collaboration between makeup design and cinematography; a profile on the career of Jeff Cronenweth, ASC; coverage of The Matrix Resurrections, Belfast and Cyrano; and more. Here’s a look at this month’s slate.
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The Spokesman-Review

100 years ago in Spokane: Boy Scouts and a cinematographer endured brutal conditions on a trek up Mt. Spokane

A group of Boy Scouts, along with a Seattle cinematographer, snowshoed their way through up to “12 feet of snow” on Mt. Spokane. “We experienced very cold weather near the mountaintop and were forced to make camp in four feet of snow,” the scoutmaster said. “We reached Cook’s first cabin about two hours before dark and some of the party decided to remain there for the night. Four of us, in an effort to reach the upper cabin, were forced to make our camp in the snow. We ascended the top early Sunday morning and spent several hours on the summit.”

Who Cinematographers Are and What They Do

Cinematographers are basically cameramen when it comes to motion pictures. They decide on the right cameras and optimum angles to capture a good shot. At times, cinematographers can film from a stationary camera. But in other situations, cinematographers film on moving trucks or cranes. On bigger projects, cinematographers can supervise...

What is the Process of Becoming a Cinematographer?

DP (Director of Photography) or cinematographer is the most highly regarded job in the filmmaking industry. Similar to directors, they are the most important individuals in filmmaking and are obligated to develop a general visual impact of films. Most aspire to be behind the cameras when choosing commercials, TV shows, movies, and music videos. Besides, the work encompasses having control over the visual elements of filmmaking. So if this sounds like an appealing career, the following are some of the ways to become a cinematographer:

Belfast cinematographer breaks down the ways black-and-white gives the film clarity and naturalism

The past is rarely black-and-white. But in Belfast, it is. The highly personal film from writer-director Kenneth Branagh follows 9-year-old Buddy (Jude Hill) as his family grapples with the onset of the nationalist conflict known as the Troubles in Northern Ireland. As Ma (Caitriona Balfe) and Pa (Jamie Dornan) debate what is best for their family's future, Buddy tries to make sense of the shifting world.
Digital Trends

The Witcher cinematographer on Kaer Morhen and season 2

After Season 1 of The Witcher turned into a runaway hit for Netflix — becoming one of the most-watched series on the streaming service soon after its premiere — fans had to wait nearly two years for the second season. Delayed due to the pandemic, Season 2 of The Witcher finally premiered in December 2021 and brought Geralt of Rivia — Henry Cavill’s gruff, monster-hunting hero — back for more adventures.

Interview: Fear the Walking Dead Cinematographer Fernando Argüelles

ComingSoon had the opportunity to speak with Fernando Argüelles. The acclaimed director of photography discussed his work on Fear the Walking Dead and The Princess Switch 3 as well as what led him to his profession. Arguelles’ main body of work has been in television and notable credits include Prison Break, Hemlock Grove, and Scorpion. At present, Arguelles is in pre-production for the DC Comics TV pilot & series The Swamp Thing.

Exclusive Interview – Cinematographer Matt S. Bell on Alicia Silverstone’s new shark thriller The Requin

Most people know Alicia Silverstone from her roles in Clueless, Batman & Robin and the early 90s Aerosmith music videos. Silverstone is exploring new territory in her latest thriller The Requin. Hitting theaters, On-Demand and Digital January 28th, the film’s official synopsis reads: There’s terror in paradise when Jaelyn (Silverstone) and Kyle (James Tupper) arrive at a remote seaside villa in Vietnam for a romantic getaway. A torrential storm descends, reducing the villa to little more than a raft and sweeping the young couple out to sea. Suddenly, another danger appears: a school of great white sharks. With her injured husband watching helplessly, Jaelyn must battle the deadly predators alone in this tense thriller that rides an unrelenting wave of fear. Adding to this action-packed ride is the cinematography by Matt S. Bell, whom is no stranger to terrifying shark films, he has worked on many, including Syfy’s Santa Jaws. To learn more about the film’s cinematography, we spoke to Matt exclusively. In the below Q&A, he discusses everything from working with director Le-Van Kiet to being a traveling DP.

Gareth Edwards Reuniting With ‘Rogue One’ Cinematographer Greig Fraser on New Film ‘True Love’

Cameras are rolling on filmmaker Gareth Edwards’ fifth feature-length film, “True Love,” over five years since his last feature “Rogue One: A Star Wars Story” hit theaters. But Edwards is working with a familiar face behind the camera on the original sci-fi project, as Oscar-nominated cinematographer Greig Fraser – who served as director of photography on “Rogue One” – revealed his involvement in an Instagram post marking the first day of shooting.

Meet the cinematographer whose 'controlled naturalism' is changing the face of TV

Television, obviously, is a medium of pictures. Yet for many, many years, owing to technical, practical and economic reasons, the pictures were not much to look at: flatly lighted, stolidly framed, fashioned to convey dialogue, broad action and necessary information but rarely to communicate mood or tell their own sort of story.

Saved by the Bell Cinematographer on Bridging Old/New SBTB Generations

When Tracey Wigfield was tasked with rebooting the 1990's popular NBC Saturday morning series Saved by the Bell, she knew there were two important figures she had to get creatively involved: original series executive producer Franco Bario and cinematographer Tom Magill, both worked with her on the NBC series Great News. I spoke to Magill about the challenge of updating Bayside High and expanding to a grander scale for the NBC Universal reboot on its streamer service Peacock, how it retains familiar landmarks of the original Sam Bobrick series, and how the COVID pandemic affected filming from season one and two.

Exclusive Interview – Cinematographer John Orphan breaks down the look of Stoker Hills

While Scream is currently holding number one on the box office chart, there were a few other horror titles that were released this past week, including Saban Films’ The Legend of La Llorona and Screen Media Films’ Stoker Hills starring horror icon Tony Todd (Candyman). The synopsis for the latter is as follows: In the secluded town of Stoker Hills, three college students find themselves in their worst nightmare when they set out to film a horror movie and are kidnapped by a serial killer. Their only hope for survival is the camera they left behind and the two detectives looking for clues in the footage. There are many aspects of Stoker Hills that make the film worth watching, one of those being the cinematography by John Orphan. Orphan approached the look of the film with the viewpoint of, withholding information in the darkness is much scarier than showing the audience everything all at once. In the below exclusive interview, Orphan goes into more detail about how darkness almost became another character in Stoker Hills, working with director Benjamin Louis, his extensive commercial work and much more.