Cinematography

I haven't seen Sinners yet, Pat Alexander, but the cinematography looks stunning from the promo! It's one of the things I'm excited for in the film!

I'm SO excited to see Sinners, Pat Alexander, we're getting tickets to go see it this weekend!

I might go see it too!

Michael Fitzer, For me and my husband, Quasar Science’s lights have been lifesavers time and time again. They’re so versatile, easy to transport, and really well made. We’ve used them for everything from soft key fills to hiding practicals in tight spaces, and they’ve saved us in so many unexpected ways over the years. Whether you’re working in a studio or out on location, those tubes are like Swiss Army knives for lighting setups.

Love the Quasars! I have a box full of 4', 2' and 1' tubes. Maybe that will be my next post! LOL!

Three things set me on my path. The first was seeing "Sid & Nancy" in the theaters in 1986. I was 16 years old and I remember thinking it was one of the most beautiful films I'd ever seen. I started gobbling up (pre-internet) information on the DP Roger Deakins, to explore how he made such pretty pictures.

The next year I saw Kathryn Bigelow's "Near Dark" and was fascinated by how cinematographer Adam Greenberg turned light into a character in the film. As a teenager I still didn't know I could make a living doing what these guys were doing but was enthralled nonetheless.

The third thing is when in 1993 I worked on my first feature "The Shawshank Redemption" with Roger Deakins as DP, and got to watch the master at work. I walked off that set knowing it is what I wanted to do for the rest of my life.

Congratulations on becoming a Moderator, Michael Fitzer! Welcome to the team! The Mod Squad! I'm rewriting two feature scripts. I'm also working on other projects here and there. The cinematography for one of them is going to be fantastic! I'm caught up on season 7 of Black Mirror, and the cinematography in the series is incredible!

Welcome, Michael Fitzer! We’re so excited to have you here in the Cinematography Lounge. Your experience and energy are such a great addition to the community. I love that you’re diving back into making shorts: it’s such a fantastic way to experiment, stay sharp, and rediscover the joy of creating on your own terms.

As for recent inspiration, I was blown away by the cinematography in The Pitt. The use of camera movement was incredible. It added so much to the tension and really helped establish the constantly shifting energy of the ER environment. You could tell they didn’t have a ton of space to work with, but the way they maximized it was so intentional. The balance of one-takes, movement vs. stillness, and tight framing around character moments gave such weight to the emotional beats. Every shot felt purposeful, and it really elevated the storytelling in a way that stuck with me.

Hey Michael Fitzer! Welcome to the Mod Squad! So glad you're with us. Really looking forward to checking out your work. I just finished up a revamped voice acting reel on the advice of a pro so I'm good to go there. Today, I'll get notes back on one of my scripts and will be immediately submitting another one. Trying to get my screenplay portfolio as tight as I can. One of those is actually a short. But again, welcome friend!

Thanks Ashley… look what I just posted above of that Director Tom Verica and how camera guy!! They seem pretty in-sync -

That Director … hmm.. so cute. Wondering if he’s married… lol. ♥️

Don’t give it away Maurice!! Though Ash already knows!!

Lenses are one of the most important tools in crafting the look. It's usually not in your face like lighting or production design, thus has more of a back of the brain psychological effect. Some lenses call attention to themselves more than others but from an audience standpoint it yields a feeling more than anything else. That's where the power lies.

I pick lenses based on many factors and it's different for every types of project. Films and commercials often have different goals. The decision making involves many factors such as creative, practical, speed, cost, etc.

I don't have go-to lenses except for doc work where I like to use zooms to be quicker on my feet. For everything else I will tailor my decision based on the story or product. I like to try different lenses so I often shoot with ones I haven't worked with before. It's one way of learning and discovering while giving each project its own identity.

We could fill a whole book with this topic.

Gareth Taylor I love how you described the lens choice as something that affects the audience on a subconscious level. It’s such a powerful tool for tone and emotion, and it’s true: when used with intention, it shapes the feeling of a project in ways viewers might not even be able to articulate.

I also really admire your approach to trying out different lenses on narrative or commercial projects. That kind of curiosity and willingness to discover keeps the craft evolving, and you’re so right; each project deserves its own visual identity. Zooms for doc work make total sense, too, especially when speed and flexibility are key.

And yes, we could definitely fill an entire book with this topic! Thanks for sharing your perspective, there’s so much value in how you break down both the creative and practical layers of the decision-making process.

Ashley Renee Smith Exactly, that's the game, in the depths of PERSONAGE.

Love your thoughts on this Ashley Renee Smith !

Hi Stephen Folker - this is a great point! Stillness lets the audience into the actor's mind, as Ashley pointed out. And stillness in acting can convey so much. As a director, I move the camera in exposition scenes to keep the pace moving, but for important moments, a solid medium short or close up on sticks is best.

I agree Stephen Folker, people tend to move the camera for the sake of moving it way too much nowadays. It has to do with short attention span and also fear of stillness. Of course there is a place for both. But I do think we shy away from locked off shots too much now. It's a shame because the power of a still portrait can be far more effective than moving the camera. Again, it all depends on the tone and what matters most is that the story is put at the forefront rather than showing off tech moves.

Really love the comments and insights!

Camera (and movement): grab some friends, and shoot short scenarios. You'll have to double as a director. Block the scene, shoot it. Thankfully with this digital realm we are in the cost is next to nothing to do things. Color grading: Checkout Stu Maschwitz (his website is ProLost.com and search for color grading). (Note: there's plenty of color grading tutorials out there, and many are confusing and do it wrong).

Hi Navid John Namazi, welcome to the Cinematography Lounge! I love that you’re actively looking for ways to push your skills to the next level. That mindset alone will take you far.

When it comes to improving camera movement, lighting, and color grading, I’d recommend focusing on practical exercises that challenge you creatively with the gear you already have. In film school, they encouraged us to practice lighting and camera setups by recreating pieces of art or inspirational still photography and then adding movement to it. It’s a great way to train your eye for composition, light shaping, and visual storytelling without the pressure of a full narrative.

For lighting specifically, practice shaping available light before adding anything extra. Working with negative fill, bounce, and diffusion will help build your eye and precision. For color grading, DaVinci Resolve is an industry standard tool with a free version that’s incredibly powerful, even practicing with footage from your phone can help you get comfortable with color theory and matching tones.

Also, I’d highly recommend checking out Stage 32’s cinematography education, there are some fantastic webinars and classes led by industry professionals that dig into advanced techniques:

https://www.stage32.com/education/collections/cinematography

Watch films and shows and dissect scenes you find interesting. Read articles in AC and BC mags. Go to trade shows. See what's out there.

Shoot as much as you can. Try new things. Push yourself out of your comfort zone. Take risks. Test gear you haven't worked with.

Rachel Troche, thanks so much for bringing this conversation to the Cinematography Lounge. Gear talk is always a favorite around here.

I’m a big fan of Panasonic Lumix cameras myself. I’ve owned and used both the GH4 and GH5 and really love what they can do in all environments. But I also have friends who swear by Blackmagic, so I totally get the back-and-forth when it comes to upgrading. I'm looking forward to what other suggestions you receive from the community!

Hi Rachel Troche, I'm also interested in equipment with similar qualities that you listed (low light, prime lenses, possible handheld) and I am wondering if you or anyone here has any opinion on the Canon C300 MK3?

From someone whose shot on about every camera brand out, I think the Blackmagic has a nice organic look and the files are managable for editing. Sony makes nice stuff too. With the right ligthing and color grade you can make about any type of camera look good.

I don't think you can ever go wrong with Canon. That said, I'm a RED Epic Dragon Owner/operator, and I own four BMPCC 6k - 1st Gen cameras, which I do a lot of commercial and short film work. Paired with the right glass, these cameras really deliver. It took me a little bit to get over the form factor. I felt a little cheap walking on set to be honest, but that's ego talking. The end results are killer. Here's a favorite screen grab from a short I just shot with the BMPCC 6K paired with the spherical Sigma Cine 18-35. 2.4:1

Of the cameras you mentioned the FX6 would fit your needs best. It's a pick-up and go camera. No need to gak it up like smaller mirrorless type cameras. It's great in low light, has solid autofocus, grades well and can be mixed with other cameras quite seamlessly.

Stephen Folker, I love this, it really gets to the heart of what makes cinematography so powerful. Natural light has such a storytelling presence all on its own, and I think some of the most memorable shots come from knowing when not to overpower it.

I’ve always loved that idea of letting light reveal story, whether it’s an intentional step into a beam of sunlight or letting shadows obscure just enough to create mystery or tension. It’s those small, deliberate choices that add so much emotional weight to a scene.

@Stephen Folker and @Ashley Renée Smith Whenever possible I use natural light, and always with good results.

Light is everything. Without it we can't see and cinematography wouldn't exist.

Natural vs artificial depends on the intent, the approach, the location, the subject and oftentimes the budget.

As an adoptee.,I find this imteresting but when I clicked on book it went nowhere!

Hi Jed. No these are just screenshots! Google you find it immediately! It will FLY off the shelves once the film

Maurice… ANYTIME I edit a comment - it ALWAYS loses the rest of what I had there? I edited this comment above to Jed… and the rest is gone?

Why?

Hi, Sherri ZImmerman. I'm not sure. You might need to paste your comment in a writing program, edit the comment in the program, and then paste the edited comment on your post instead of trying to edit the comment on Stage 32.

Hi Sherri, Enjoyed the chat today. Best, Jed. jedpower@verizon.net