“Cameras and lenses can make a huge difference on a project, something this year’s Emmy-nominated cinematographers know something about. IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (Half-Hour), Single-Camera Series (One Hour), and Limited Series or Movie, and asked them which format, camera and lenses they used. But just as important, we asked them why they were the right tools to achieve their show’s unique look.”
“This year, 19 cinematographers received Emmy nominations for their work in one of three categories: Outstanding Cinematography for a Single-Camera Series (Half-Hour), Single-Camera Series (One Hour), and Limited Series or Movie. Here are 19 still photos that capture the cinematic essence of these beautifully shot shows [including INSECURE from cinematographer Patrick Cady, ASC and THE HANDMAID’S TALE from cinematographer Colin Watkinson].”
View the full gallery here.
“Another iconic shot in the episode took place when June managed to escape but had to cut a tracker from her ear. The scene was shot in a real mechanic’s garage, but the garage didn’t have any windows in it, so the production had to install them along the top of the garage doors. The bit of light they afforded, along with the light from the fire in the stove, helped [Cinematographer Colin Watkinson] to illuminate the scene of June’s bloody resistance. “There’s so much blood,” he said, laughing. “I love it when Mike Barker wants to push it, and he really wanted to see the scissors cutting her ear.””
Read the full interview here.
“The Outfest Los Angeles LGBTQ Film Festival has unveiled winners for its 2018 edition that wrapped Sunday, with Jeremiah Zagar’s WE THE ANIMALS [lensed by Zak Mulligan] taking the U.S. Narrative Feature Grand Jury Prize”
“…cinematographer Zak Mulligan emphasizes the movie’s 90s setting by choosing mostly 16-millimeter film. This gives its rough-rural exteriors and rundown interiors (filmed in and around Utica, N.Y.) a dreamy, nostalgic glaze speckled with lambent light, like the fingerprints of memory”
“The book’s already-scarce conversations and exposition have been pruned back yet further, but cinematographer Zak Mulligan makes up the difference in visuals as vivid as Torres’ prose. Careful camerawork means we take in the world as Jonah does: We never see Paps hit Ma, but we do steal a shaky glance at the bloody tissue on the bedside table. And when Jonah’s imagination—or his trauma—takes him further afield, we follow, plunging underwater or drinking in gorgeous sweeping shots of wooded hills and open skies.”