Cinematography

If you’re a cinematographer, you’ve probably heard that a hundred times — or, if you’re like me, you’re constantly reminding yourself.

So what is it?

Simply put: in a shot like an over-the-shoulder conversation, if Actor A is on the left, they should stay on the left in every shot. Flipping sides breaks the visual logic and can confuse your audience.

Yes, the rule can be broken — but it should always be intentional and motivated by the story.

Curious — how many of you have broken the 180 rule, and why?

If you're like me and the one-shot phenomenon Adolescence was one of your favorite shows of the year, check out this article by Deadline for an interesting behind the scenes look into the show. https://deadline.com/2025/06/adolescence-stephen-graham-philip-barantini...

Anamorphic is the rage. Every filmmaker I talk with wants to film in anamorphic, with anamorphic lenses, believing it gives their film a "cinematic" look. I have no issue with that, except when I shoot anamorphic, I use spherical lenses, but that's for another post.

But for anyone who started filming on 16mm, you know the 1.66:1 aspect ratio delivers a stylistic feeling that a wider aspect ratio leaves wanting. Despite film taking a backseat in lower-budget cinema over the last 15 years or so, this is an aspect ratio that has hung on, yet it isn't often discussed. But, if you look around, you'll see it is still employed by top filmmakers (check out recent films such as Scorsese's "The Irishman" and Yorgos Lanthimos' "Poor Things").

I recently interviewed for an upcoming horror feature where the director wants to harken back to an 80's feel, so we discussed using 1.66:1 to deliver that feel. The spaces we're looking at filming are confined, so why not make the aspect ratio fit the same bill?

It's a fun discussion to have and one that we'll continue to talk about but for now, I'd like to hear from you. How do you choose your aspect ratio? What considerations go into your decision? Are you a "wide-or-die" shooter or do you like to play around with the frame and delivery?

Let me know in the comments below!

Historic news for the world of cinematography: Mandy Walker, ASC, ACS has just been elected as the first female president of the American Society of Cinematographers in its 105-year history.

Known for her powerful visual work on Elvis, Mulan, and Hidden Figures, Walker has consistently pushed creative and technical boundaries, and now she’s making history again by stepping into this leadership role.

This is more than a milestone. It’s a signal of change within the industry and a reminder of how essential representation is, not just on set, but at the decision-making table.

Check out the full article here:

https://ymcinema.com/2025/05/25/breaking-the-lens-ceiling-mandy-walker-e...

What does this moment mean to you as a cinematographer or filmmaker?

"In this episode of the Team Deakins Podcast, cinematographer Steve Yedlin (Season 2, Episode 72) returns to talk with us about deliverables and preserving authorial intent in post-production. Throughout the episode, we tap into Steve’s deep well of technical knowledge, and we make frequent reference to Steve’s publicly available demonstration on what HDR really is and how it has affected the colour timing stage of post. We get into the weeds during our conversation, and we try to make sense of the growing number of variables, units of measurement, and home-video viewing options we’re forced to contend with as filmmakers in the digital age. We also look at how our level of control over home-viewing deliverables has changed since the VHS days, and we attempt to peek into what the future may hold for us as technology and audience expectations continue to evolve. Towards the end of our conversation, we discuss the economic realities of restoring old films, and Steve offers his best advice to any young (or older!) filmmaker feeling overwhelmed by the endless technical jargon. Plus, we find some surprising and relevant wisdom within THIS IS SPINAL TAP..."

https://teamdeakins.libsyn.com/deliverables-preserving-authorial-intent-...

I just got finished reading this book and thought it was a great introduction to the world of cinematography. I'm an award-winning screenwriter and am looking to learn the ins and outs of cinematography to be a better collaborator.

Question: What are some of your peeves about working with scripts and first-time directors?

https://www.worldofreel.com/blog/2025/5/31/okx682ub2976dfeoaulc1qhtzdgqnq

Yes, I still use one. No, I'm not afraid to admit it.

I know that in many cases nowadays, on-camera tools have reduced the need for a meter, but I still carry one. Part of this is out of habit, and part is out of my sense of professionalism and dedication to nailing the image in camera and not relying on the sometimes costly process of post-manipulation.

How about you? What do you do to nail the image on set? What tools do you carry with you? Let me know in the comments below.

If you’re curious about what the top cinematographers in the world are using right now, this breakdown from IndieWire is a must-read:

https://www.indiewire.com/gallery/cannes-2025-cinematography-cameras-arr...

Unsurprisingly, ARRI continues to dominate, especially the Alexa 35, but what’s fascinating is how these DPs are pairing cutting-edge digital cameras with vintage glass, unconventional filters, and custom LUTs to achieve everything from crisp realism to dreamy abstraction.

The range of lens choices alone is worth geeking out over: Cooke Panchros, Kowa anamorphics, Atlas, Baltars, and more. The gear may be high-end, but the intention behind each setup is the real takeaway: story-driven cinematography is alive and well.

What stands out to you about the camera and lens choices on this year’s Cannes films?

Are you seeing trends you’re excited about, or starting to move away from?

And how do you personally balance gear choices with visual storytelling goals on your own projects?

Everyone wants to be paid for the work they do. Everyone deserves to be paid for the work they do. As someone who makes my living in this business, I NEED to be paid for my work. That said, as film professionals, when developing a project, we often spend hours, days, weeks, months, and even years putting our time, energy, and experience into a job without compensation in the hope of getting that project across the finish line.

I used to grouse about this reality. I'd wonder (sometimes out loud) when I was going to be in a position where my services were valued enough to be paid for the work I was doing in development. I felt cheated, and it started to impact my love of the craft.

However, about 10 years ago, I took a DP week-long workshop with a well-known cinematographer. This is a guy who has shot tons of high-end films and commercials, many with bigger budgets than most of us ever get to spend on a single project. In one of the lectures, he revealed that about one-third of the work he does on any given project he does for free. Before the first scout or first production meeting, or sometimes even before securing the job, he will spend days or weeks dissecting a script, thinking about lighting, camera moves, company logistics. He'll take pages and pages of notes, all in the spirit of giving the project the best chance for success.

I don't know about anyone else in the workshop, but I left left that week with a renewed sense of purpose, energy and commitment. I accepted the reality that working for free is a reality of this industry and that it isn't a reflection of my personal value, but rather a reflection of my level of commitment to producing great work. That's not to say I'm a sucker or that I will just give time away to anyone who asks, but that as someone working in a key position, I will do what it takes to get the job done well. In return for some of that work, I receive piece of mind that I'm servicing the film, the commercial, the client and myself.

How do you approach the through of sometimes working for free? I'd love to hear everyone's thoughts!

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