I’m watching the Netflix Nordic series DETECTIVE HOLE starring Joel Kinnaman and I have to say the cinematography on this show is unreal.
Cinematography
The place to discuss, share content and offer advice and tips on all things lighting, framing, cameras, lenses and technique
Liked by Vital Butinar and 10 others
Works at 180 Degrees / www.film180.com ♦ Cinematographer, Producer, Camera Operator, Screenwriter
1 day ago
Interview
It was fun being interviewed by the Palm Springs Screenplay Awards for being a finalist. There's a little in there about being a DP.
Read on...
https://www.palmspringsscreenplayawards.com/mike-fitzer-interview.html#/...
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What's Happening in Cinematography -- April 2026
A few things worth knowing about this month:
The April issue of American Cinematographer is out, covering Project Hail Mary, The Bride!, Wuthering Heights, and Amrum. Linus Sandgren breaks down his approach to Emerald Fennell's Wuthering Heights adaptation, and the issue includes a report on a perfor...
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Sam Rivera
- 2 days ago
I'm especially excited to see what new cine gear emerges from NAB this year, and that ARRI partnership for Europe's largest virtual production stage sounds like a game-changer for how cinematographers can shape light and atmosphere on set.
I'm curious about NAB. Also, over the past few months, I've read a couple of rumors about ARRI: one about a possible sale (I hope not) and another about a hypothetical Alexa Mini "for the masses" (this one might be interesting).
Writer Liaison at Stage 32 ♦ Screenwriter, Producer
2 days ago
How Greig Fraser Created the Epic "Dune" Sun with Creamsource Vortex
Cinematographer Greig Fraser ACS, ASC breaks down the visual and lighting approach behind Dune: Part Two, from the film’s colour journey (Caladan to Giedi Prime to Arrakis) to the practical challenge of creating realistic “sun” on set.
Fraser talks about building sharp, clean shafts of light, the pro...
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Foreground objects are one of the most underutilized tools in the frame. When used with intention, they do several things at once -- they create depth, direct attention, and add context without the di...
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Writer Liaison at Stage 32 ♦ Screenwriter, Producer
5 days ago
‘Project Hail Mary’ Cinematographer Greig Fraser on How He Created the Sun Effect to Light the Tunnel Scene
Fraser discussed one of his biggest challenges: How was he going to light the tunnel? “In the past, what people have done to move light is they put a light on a frame and moved it over a window or through something, but we had to have the entire tunnel being hit by the sun.”
“The tunnel had a bit of...
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Lindsay Thompson
- 3 days ago
This is a great example of practical problem-solving winning over reaching for the newest technology. The instinct to go back to tungsten when LEDs simply could not produce the volume of output needed...
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Works at 180 Degrees / www.film180.com ♦ Cinematographer, Producer, Camera Operator, Screenwriter
2 weeks ago
The Push In
As a DP, I'm always looking for ways to enhance the story, and more often than not, the best way to bring that extra emotion, clarity, or focus to a frame is by executing the simplest of moves.
For instance, I love a good push-in. Not a zoom, mind you, and not an optical enlarging of the frame, but a...
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Lindbergh Hollingsworth
- 2 weeks ago
Good, simple medium shot where we can see much of the character and their emotion. Especially for a hard emotional hit or silent revelation. Many times there's a close up cut to capture the emotion when it's unnecessary.
Jackson Scott
- 2 weeks ago
I agree, the amount of emotion in something as small as a push in is so impactful. I also love a good tracking shot to convey energy and motion, nothing too fancy like from the show Adolescence but something to keep the scene flowing and moving.
and color!
Works at 180 Degrees / www.film180.com ♦ Cinematographer, Producer, Camera Operator, Screenwriter
3 weeks ago
Teaching Film
In addition to running a film production company, I've been teaching an intro to film production course for two semesters at a local college. One of my favorite parts of the class is where we dig into lighting and how it informs a scene, character or mood.
I bring out films like Goodfellas, Another...
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Morgan Aitken
- 3 weeks ago
2001, Stan Kubrik - The lighting was pure, harsh and cold, like space. In space there was no diffusion and they sold the effect with perfect blacks and harsh whites. Inside the ship, the lighting hint...
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Jackson Scott
- 2 weeks ago
Perhaps some scenes from the 2024 movie Conclave. They use lot's of practical lighting and natural lights to light the scene for purpose. And it is stunning!
How do you kill footstep bob on a gimbal shot without using a dolly?
Dragged a gimballed camera with an anamorphic lens down a narrow passage and the result is... educational.
The walls bow and smear in all the fun anamorphic ways, but the camera is also doing a very honest impression of my skeleton reacting to gravity one footstep at a time. So instead of sleek menac...
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Lindsay Thompson
- 2 weeks ago
A few options depending on your situation and what you have available.
The most reliable technique fix is ninja walking -- heel to toe, knees slightly bent, moving from your core rather than your legs....
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For ‘BTS: The Return’ Every Member Has an ‘Additional Cinematography By’ Credit
BTS: The Return does something quietly radical with its cinematography — director Bao Nguyen handed each of the seven members their own camcorders and just... let them shoot. No instructions, no shot lists. The result is a visual diary that feels genuinely personal rather than polished-for-consumpti...
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Lindsay Thompson
- 2 weeks ago
This approach resonates. The best unscripted work often comes from getting out of the way, and Nguyen understood that the most honest footage was going to come from the subjects themselves rather than...
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Producer, Screenwriter, Author, Voice Actor
2 weeks ago
FREE Webinar – April 1st: How to Navigate the Cannes Film Festival Marché du Film
This Wednesday, April 1st, Stage 32 is hosting a FREE webinar you don’t want to miss:
How to Navigate the Cannes Film Festival Marché du Film
We’re bringing in Guillaume Esmiol, Executive Director of the Marché d...
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1 person likes this
Every cinematographer is unique, and sometimes I’ve rewatched a film many times just because of a few beautiful shots.
For me, the cinematography of The Killer directed by David Fincher has been very i...
Expand commentEvery cinematographer is unique, and sometimes I’ve rewatched a film many times just because of a few beautiful shots.
For me, the cinematography of The Killer directed by David Fincher has been very inspiring. Also, Barry Lyndon directed by Stanley Kubrick, and more recently, One Battle After Another from last year. Directed by PTA
1 person likes this
It's interesting that I've never been directly inspired by one cinematographer, but more by a cinematography style and didn't actually know exactly what it was until I went and looked it up just now....
Expand commentIt's interesting that I've never been directly inspired by one cinematographer, but more by a cinematography style and didn't actually know exactly what it was until I went and looked it up just now. The funny thing is that it's not just one cinematographer but many that worked with one director, Tony Scott.
I really love that kind of visuals, the long lenses, the duplicated frame rate, the open shutter angle, the contrast and color palet. I actually used a few of these principles in a music video that I directed a couple of years ago. I got the idea from the film Unstoppable.
2 people like this
I've been lucky to work with many of the best, but Dan Laustsen is and incredible artist and human.
1 person likes this
Kazuo Miyagawa
I love Autumn Durald Arkapaw‘s sense of color palette that she created on Sinners with the lighting and just the mood she created embodied a feeling of being in the fire. Almost as if they were in the heart of hell. It was just amazing!