The place to discuss, share content and offer advice and tips on all things lighting, framing, cameras, lenses and technique
Who here loves the Showtime series "Yellowjackets?" It's one of my recent favorites, partly due to the work of collaborating cinematographers Shasta Spahn and Michael Wale and how they tackled dual timelines, giving each a unique look without making those two timelines look like two different shows....
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In a recent blog post, “Ideas Are Nothing: Action Is Everything!”, Sean LaFollette summarizes that while we all have endless ideas, it’s only by taking imperfect action—and embracing the failures that follow—that we gain real experience and momentum. Waiting for the “perfect” moment or external vali...
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I think it's great that today's film programs are equipping their students with true cinema cameras, enabling them to understand the full creative and technical pipeline, Amanda Toney! I think it'll h...
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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 brea...
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Stephen Folker Once I intentionally broke it, and it turned out well. I know that many people follow the rule, but sometimes breaking it gives you a new perspective. Just my opinion....
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John January Noble - I break it all the time, but usually on scenes that are tense or upsetting.
So true Morgan Aitken Ipg !
It can definitely be hit and miss Lindsay Thompson .
Stephen Folker the 180 rule is one of those fundamental tools that’s easy to take for granted until you see what happens when it’s broken without intention.
I’ve seen it used really effectively when th...
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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......
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Adolescence is incredible, Ryann Goldberg! I like when scenes have less cuts or no cuts at all, like with Adolescence. I feel more connected to the characters and story that way, and I get pulled out...
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Ryann GoldbergI think I may have mentioned it to you already, but we recently hosted an exclusive Stage 32 webinar with First Assistant Director Sarah Lucas, who walked us through the planning, blocki...
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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 filmin...
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Michael Fitzer, thank you for bringing attention to the artistry of 1.66:1! It’s true that the conversation around aspect ratio often gets dominated by the allure of anamorphic and ultra-wide formats,...
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Hello, Stage32! Light and Shadow, Stories Through the Lens - Nikolett Mengyi's Visual World.
"Hi everyone, I'm Nikolett!
My visual storytelling has a quiet mission: through light depiction, I merge concept, emotions, and atmosphere. In my work, my style leans towards a cinematic and theatrical visual...
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Hi, Nikolett Mengyi. Do you use colors to symbolize things in photos?
You are the professional, decide for yourself. :)
Love this photo you posted with what looks like a light leak from the lower left!!
Thank you for the comment
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 creativ...
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She's amazing. Love her stuff. I wasn't a fan of "Elvis" except for the cinematography. That was brilliant.
What an accomplishment!!!
This is so good and make us proud. I need to find out more about her.
Such an incredible accomplishment!
"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 referenc...
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If you wish to watch Steve Yedlin's demonstration on HDR, here is a link (Debunking "HDR"):
This is another link from his website, where you can find other vid...
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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?
Not a peeve, just a suggestion… develop a good understanding of aspect ratios and lens selection. Both have a physical and emotional impact on the overall picture. When you can discuss story and how the cinematographer’s tools will enhance your vision, you’ll be in great shape.
Michael Fitzer Yup. I'm taking care of all of that now in reading and YouTube videos. Can't wait to put it all to good use.
From mini DV to the iPhone. I remember in 2011 when Shane Hurlbut shot parts of Act of Valor on the Canon 5D MKII. The tools we have at our disposal are amazing. It's a great time to experiment as a filmmaker.
Shane is a legend, Michael Fitzer, no doubt.
I took a week-long workshop with him several years ago. Amazing stuff. I still use several of the methods we covered.
Well, I confess I am a Jodie Comer fan. So I get into every movie she makes. And 28h is not an exception. As much as I've read about it and how Danny Boyle led the team with 20 phones, it's truly outs...
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Park Chan-wook shot a film on an iphone 4 in 2010. It's not about tech getting better but rather filmmakers embracing creative opportunities. The problem is tech companies constantly sell resolution,...
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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 relyin...
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Oh, I 100% use a meter, despite all of the digital tools. I also still use gray cards and pocket swatches for color balance. I love having false colors and histograms on the monitor, but they serve no...
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Love it!
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Thanks for sharing the interview, Michael Fitzer. Shasta Spahn talks about changing the past look in Yellowjackets. If I write a script that has two timelines, I'll figure out a way for the timelines...
Expand commentThanks for sharing the interview, Michael Fitzer. Shasta Spahn talks about changing the past look in Yellowjackets. If I write a script that has two timelines, I'll figure out a way for the timelines to look different so the reader won't be confused which timeline they're reading.
1 person likes this
Michael Fitzer, “Yellowjackets” is such a masterclass in balancing tone, tension, and visual language across timelines, and this ASC conversation is gold for anyone tackling dual-era storytelling. I e...
Expand commentMichael Fitzer, “Yellowjackets” is such a masterclass in balancing tone, tension, and visual language across timelines, and this ASC conversation is gold for anyone tackling dual-era storytelling. I especially loved how they kept each timeline visually distinct without making the show feel disconnected. That level of cohesion is so hard to pull off and really elevates the series. It's been one of my favorite series over the last few years and I finally forced my husband to sit down and binge it all with me before starting season 3 so we can watch it together now.
1 person likes this
I’m a huge fan of Yellowjackets—the way they balance the dual timelines is masterful. I really admire how the cinematography subtly distinguishes the two periods without making it feel like you're swi...
Expand commentI’m a huge fan of Yellowjackets—the way they balance the dual timelines is masterful. I really admire how the cinematography subtly distinguishes the two periods without making it feel like you're switching shows. It’s a great lesson in visual consistency while still conveying time and tone.