Cinematografie

Over helden gesproken.

Benoît Debie

In this weeks episode, cinematographer Jess Hall discusses the similarities between Hollywood blockbuster and Indie filmmaking. We compare scenes from Hot Fuzz and Ghost In the Shell to deconstruct Hall's visual language.

This week, we introduce cinematographer Newton Thomas Sigel to Cooke Optics TV. In this episode, he deconstructs how they filmed two of the most famous scenes from the film, including the iconic lineup scene and the infamous Keyser Soze reveal at the end of the film.

GoldenEye celebrates it's 25th Anniversary. In this episode, we speak to cinematographer Phil Meheux who discusses his influences and approach behind making the film with director Martin Campbell.

Wie werken er achter de schermen naast regisseurs en acteurs? Wie schrijft het script, wie zorgt voor aankleding, het geluid, de dieren, cast en de inwendige mens op de set? De Filmkrant belicht in deze ‘achter de schermen’-serie steeds een ander vakgebied. Deze maand: camera, op de set van de Nederlands-Sloveense co-productie Pink Moon.

In this video, we explore the cinematography of Natasha Braier, known for her collaboration with Nicolas Winding Refn on 'The Nemon Demon' and Alma Har'el on 'Honey Boy'.

Happy New Year from Cooke Optics TV! In this episode, cinematographer Don Burgess deconstructs the cinematography behind fan favourite Forrest Gump.

Peter Suschitzky is a frequent collaborator and regular cinematographer of director David Cronenberg, working together on films such as 'Eastern Promises' 'Dead Ringers' and 'Crash'. In this episode, Suschitzky discusses how he met Cronenberg and how they collaborate.

We welcome Robert Yeoman back to COTV, who discusses his process behind filming exteriors. He discusses how to work with the sun and control environments at night, working with practical lighting and CGI.

Director Christopher Nolan and his cinematographer Hoyte van Hoytema is known for their collaboration on Interstellar (2014), Dunkirk (2017), and Tenet (2020). Nolan in particular is well known for capturing everything in camera. In this video, Nolan and Hoytema explains their reasons for shooting and capturing things in camera rather than shooting on green screens.

They’ve also been increasing the amount of use of the IMAX camera, which is known to be an extremely expensive and difficult camera to work with. Nolan and Hoytema explains exactly why they film on IMAX and the importance of it for them.

Ingmar Bergman is the filmmaker who I think has most extensively explored the unique potential of faces to be arranged and composed in interesting ways on screen.

In this episode our cinematographer roundtable talks about working with gaffers and how they collaborate with them. What is expected from a gaffer?

In this episode Caleb Deschanel recounts his experience working with Hal Ashby and Peter Sellers on the set of 'Being There'. He examines how Ashby's previous work as an editor informed his approach to directing, and describes how the comedic genius of Sellers' performance punctuates the politcal undertones of the film.

In this episode we discuss what challenges you would face shooting a film in space. Why shouldn't you use a gimbal with zero gravity? What makes a space ship look futuristic?

Louie Schwartzberg is a pioneering artist who has filmed some stunning footage of mushrooms growing over the course of 15 years. WIRED goes behind-the-scenes with Louie to find out how these amazing time-lapses were made for Netflix's Fantastic Fungi.

Agnès Godard is sinds jaar en dag de vaste cameravrouw van Claire Denis, maar werkte ook met onder meer André Téchiné en Agnès Varda. Aan de hand van zes shots blikt ze terug op haar carrière.

Director Neill Blomkamp sits down with WIRED to talk about the innovative camera rig his team created for his video game-inspired horror film, Demonic.

To commemorate the 15th anniversary of the release of Casino Royale and to mark the release of No Time To Die, we talk to cinematographer Phil Meheux about his work on the film. Casino Royale is second of the Bond franchise, and Daniel Craig's first. He talks about filming the sinking house in Venice, explains the ingredients of a good car chase, and how 'that' scene of Daniel Craig on the beach came to pass.

Contact famously features a specific one shot crafted by the crew. In this episode, cinematographer Don Burgess deconstructs exactly how they created it.

Oliver Stapleton is the co-head of cinematography at the National Film and Television school. In this episode, he discusses some of the key landmarks in creating a motion picture image since the 1970s.

In this episode of our cinematography roundtable, six talented cinematographers discuss different experiences and approaches towards working with the director.