Cinematography

There’s a huge price gap between cinema and photography lenses, but what exactly justifies that difference? And when is one the smarter choice over the other?

In this breakdown from In Depth Cine, the team dives into the practical and aesthetic distinctions that shape how cinematographers choose their glass. From ergonomics and manual focus control to T-stops, de-clicked apertures, and the coveted “cinematic look,” this video explores how each lens type fits different workflows, whether you’re working with a full camera crew or flying solo on a gimbal.

Watch here: https://www.youtube.com/watch?v=npZtToJnxaU

It’s a fantastic reminder that the “right” lens often depends on more than just image quality, it’s about the kind of story you’re telling, your shooting environment, and your production scale.

What do you think, do you find yourself gravitating more toward cinema lenses for their control and consistency, or photography lenses for their versatility and accessibility? When have you found one outperformed the other on set?

Before I ever worked with a crew, I worked alone. I wore every hat — writer, producer, director, DP, editor, sound, color. It started when I was a kid watching Movie Magic, dreaming of being a special effects artist. By twelve, I was shooting short films with neighborhood kids. By my twenties, I was still chasing the same dream — just with more gear and higher stakes.

When you work alone, you learn a lot. You learn to think on your feet, to solve problems fast, to stay calm when everything breaks. But you also learn exhaustion. You start to believe control equals safety. Every small mistake feels like failure because you were the only one steering the ship.

Fly High: Story of the Disc Dog was my first feature. Seven years of shooting, editing, and producing nearly broke me. When it wrapped, I walked away. For three years, I didn’t touch a camera. I told myself I was done.

But filmmaking has a way of calling you back.

When I finally returned, I realized the cost of doing it all myself wasn’t just burnout — it was isolation. The work might have been solid, but it wasn’t sustainable. And if I ever wanted to grow beyond what one person could do, I’d have to learn something harder than lighting or lenses.

I’d have to learn to trust.

That’s where we’ll pick up next week — the moment I stopped being a one-person army and started learning to collaborate.

Question for the lounge:

When did you realize you couldn’t (or shouldn’t) do it all yourself anymore?

Hope everyone’s doing great! What’s something you think screenwriters could do that would make our scripts better or your job easier?

Cinematographer Autumn Durald Arkapaw takes us through her process of shooting on IMAX and Ultra Panavision 65mm for Ryan Coogler's film, 'Sinners.' The first movie to be released combining these two formats, she breaks down shooting with the two different aspect ratios, and the way this impacts the viewing experience.

(https://www.youtube.com/watch?v=Y_qxGWC0d38)

Hey everyone,

November is almost here, which means Stage 32’s 11th Annual November Write Club kicks off next week. It’s one of the biggest community events of the year—a full month dedicated to creative momentum and accountability.

You don’t have to be a writer to join in. The challenge is about progress, not pages. As cinematographers, directors, producers, or editors, this is a perfect chance to set one focused goal and finish the year strong. That might mean updating your reel, prepping your next short, polishing a lookbook, or getting your submission package together for festivals.

The blog has a great breakdown on how to set realistic goals and stay consistent through the month:

https://www.stage32.com/blog/the-11th-annual-november-write-club-is-almo...

What’s one creative goal you want to tackle before the year wraps?

For years, I was a one-person production department. I wrote, produced, directed, shot, edited, mixed, and color-graded my own films because if I didn’t do it, it didn’t get done. Those projects were built on stubbornness, caffeine, and the quiet belief that I could figure out anything if I stayed up long enough.

But now, with The Shape of Kindness, I’ve stepped into something new. I’m the DP—nothing more, nothing less. We have a producer, a director, department heads, and a crew of incredibly talented people, each bringing their own artistry to the table. It’s been a shift in mindset, and honestly, it’s been humbling.

Letting go doesn’t mean losing control. It means redefining it. My role is still about storytelling, but now it’s through trust and collaboration instead of total ownership. I don’t have to carry every decision—I just have to carry the frame.

Letting go is also terrifying and uncomfortable at times. You get used to being the one who solves every problem and holds the vision together by force of will. Stepping back means trusting others to protect something you care deeply about—and that takes practice. But when you do, the creative space opens up. You start to see how much stronger a shared vision can be than a solitary one.

This new series, From One Vision to Shared Vision, is about exactly that—learning how to evolve from being a one-person creative force to working fluidly within a full team. Each post will dig into the mindset shifts, communication habits, and creative dynamics that make collaboration actually work.

For those of you who’ve made that leap (or are about to), what was the hardest part about handing off control?

Anybody shooting with drones? I'd love to hear of your experiences, good and bad. The advantages and the pitfalls. (and that word should be pit falls).

Do you hand launch and capture? Have you flown from a boat in motion, a vehicle, the back of a horse or in a canoe? If you have, how was the landing?

What about birds? How do you prevent pissed off pelicans or super territorial gulls from bringing down your drone. And what about footage, do you transmit back or hire divers or tree climbers to retrieve your data cards when said seagulls have made short work of you carefully planned shot?

For anyone keeping score, a few weeks ago, I posted about needing to rig a car for a true crime series I'm shooting. This is not something I do regularly, and the rig needs to be operated by the car's owner when we're not with them. Some of you chimed in, and I really appreciate your input.

I went with the standard GoPro setup (GoPro 12x2) with extra batteries and micro SD cards.

I also purchased the VIOFO A329S 4K Dash and interior Cab system. After reviewing many options, this one proved to be the most user-friendly and yielded the best footage output.

I'll be sure to post some photos once the rig is installed. I know, I know... You can't wait. :-)

I'm working on an unscripted series for broadcast where one of the characters we follow requires a car rig for recording day-to-day activities when we're not on location. This is not something I do regularly.

Of course, I'm looking at GoPros, and maybe the purchase of a few Insta360s (which seem to be a little more user-friendly). However, I'm wondering about including a consumer-grade interior-facing dash cam. Do any of you have experience in this area? How does the image hold up on TV? Would a consumer system blow out highlights or crush blacks to compensate?

I'd love to hear your thoughts!

After months of breaking down The Cinematographer’s Process from prep through post, we’re shifting focus — not to the tools, but to the people.

This next series is called From One Vision to Shared Vision, and it’s all about the evolution from doing it all yourself to leading a team that helps you do it better.

For years, I was the textbook one-person production. I wrote, shot, directed, edited, mixed, and color-graded everything I made. That self-sufficiency taught me a lot — but it also made collaboration harder than it needed to be.

Now, with our short film The Shape of Kindness, I’ve stepped fully into the DP role while a producer, director, and crew each bring their own expertise to the table. And that shift has been transformative.

This series will explore what that growth looks like in real time:

Letting go of total control (and why it’s not a loss)

Building trust with collaborators

Learning how to communicate intent instead of doing every task

Reframing leadership as connection, not command

Small Bite #1: Letting Go of Every Hat drops soon — and it’ll dive into how to step back from doing everything yourself without losing your voice in the process.

For those who’ve made this transition — what was the hardest part about handing off creative control?

I love a good overhead light. In British Cinematographer's online magazine, DP Johanna Coelho talks about the use of strong overheads, whitewall bounce, a dialed-in 2-cam system, and so much more for her work on HBO's "The Pitt." Do yourself a favor and check out the article and the series. Neither disappoints.

https://britishcinematographer.co.uk/johanna-coelho-the-pitt/