Cinematografie

In this episode Bradford talks to us about his background and his family history. Why was college should a big step in Bradfords career? Composition and design are important to Bradford but where does this stem from?

The Expressionist origins of the "Dutch angle."

The Dutch angle (also called the Dutch tilt, canted angle, or oblique angle) is a filmmaking technique that involves setting the camera at an angle and tilting the entire scene. You’ll see it everywhere from blockbuster movies to soap commercials. It’s used to emphasize when something is a little off, or just to make a shot look more interesting. The thing is… it’s not actually Dutch. And it didn’t start with filmmakers. It was pioneered by German directors during World War I, when outside films were blocked from being shown in Germany. Unlike Hollywood, which was serving up largely glamorous, rollicking films, the German film industry took inspiration from the Expressionist movement in art and literature, which was focused on processing the insanity of world war. Its themes touched on betrayal, suicide, psychosis, and terror. And Expressionist films expressed that darkness not just through their plotlines, but their set designs, costumes… and unusual camera shots.

In this episode Seamus talks about his love for the work of Jack Cardiff. His favourite movie is A Matter of Life and Death (1946). He talks about the colour and how he draws references from Jacks cinematography.

In this episode Ahmad talks to us about working with Sunlight. He explains how timing, angle of the sun and planning is key. Ahmad says he prefers to use the sun in the morning and evening but this can be a struggle due to time.

In this episode Don talks to us about working with Robert Zemeckis and building a relationship with the director. He tells us how you will come to an understanding with a director. You will start to understand what the director is looking for in a scene and the film.

In this episode, cinematographer Robert Yeoman - long time collaborator of director Wes Anderson – talks all things The French Dispatch: why they chose to shoot predominantly in black and white, Wes’ love affair with France, the choreography of shots, and the process of making in a movie with Anderson’s trademark symmetrical style and framing.

DP Linus Sandgren explains the location, stunts, and IMAX involved in the No Time to Die car chase through Matera.

During a seminar at the AFI Conservatory, Academy Award-nominated cinematographer Ari Wegner spoke to AFI about her film The Power Of The Dog.

DP Newton Thomas Sigel explains his approach to visual storytelling with cinematography techniques, including lenses, camera movement, aspect ratio, and more.

Jasper Wolf geldt als een van de belangrijkste Nederlandse cinematografen van deze tijd. In VPRO Cinema Extra bespreekt hij zijn vak en vertelt hij over zijn carrière.

Cinematograaf Darius Khondji maakte beroemde videoclips voor ondere andere Madonna en Lady Gaga, opvallende commercials met Charlize Theron, en hij werkte mee aan films als Delicatessen, Se7en, Panic Room, Okja, The Immigrant en Uncut Gems. Gerhard Busch sprak met hem over zijn imposante carrière.

Vanaf donderdag draait de nieuwe film Nope in de bioscoop: een combinatie tussen sciencefiction en horror. De film heeft één belangrijke troef in handen: de beste cameraman van het universum: de Nederlandse Hoyte van Hoytema (50). Wij spraken met de filmmaker.

Hoyte van Hoytema cinematography style explained — a breakdown of Hoytema’s cinematography techniques in movies like Nope, Tenet, Dunkirk, Interstellar, and more.

Always make a scene. Watch the exclusive behind the scenes featurette for BABYLON featuring writer/director Damien Chazelle, director of photography Linus Sandgren, and producer Matthew Plouffe.