Jarin Blaschke: Crafting Darkness in Nosferatu

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Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Jarin Blaschke: Crafting Darkness in Nosferatu

Cinematographer Jarin Blaschke created a visually distinct experience for Nosferatu. Both he and director Robert Eggers chose a more romantic approach to the film, with a palette of blue and black. Shooting on film with candlelight and moonlight added to the haunting atmosphere.

Cinematographer Jarin Blaschke created a visually distinct experience for Nosferatu. Both he and director Robert Eggers chose a more romantic approach to the film, with a palette of blue and black. Shooting on film with candlelight and moonlight added to the haunting atmosphere.

Cinematographer Jarin Blaschke created a visually distinct experience for Nosferatu. Both he and director Robert Eggers chose a more romantic approach to the film, with a palette of blue and black. Shooting on film with candlelight and moonlight added to the haunting atmosphere.

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Media and the Munich massacre: September 5 DP Markus Förderer

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Media and the Munich massacre: September 5 DP Markus Förderer

September 5 DP Markus Förderer experimented with lenses, flickering lights and monitors to create a feeling of tension, and blended archival, recreations and original footage in the film.

September 5 DP Markus Förderer experimented with lenses, flickering lights and monitors to create a feeling of tension, and blended archival, recreations and original footage in the film.

September 5 DP Markus Förderer experimented with lenses, flickering lights and monitors to create a feeling of tension, and blended archival, recreations and original footage in the film.

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Phedon Papamichael: Unveiling Bob Dylan in A Complete Unknown

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Subscribe to The Cinematography Podcast

Phedon Papamichael: Unveiling Bob Dylan in A Complete Unknown

Cinematographer Phedon Papamichael wanted to capture the evolution of Bob Dylan and his music in A Complete Unknown. He used lighting and a color palette unique to the 1960's time period, and made subtle changes as the film progresses into the later '60's.

Cinematographer Phedon Papamichael wanted to capture the evolution of Bob Dylan and his music in A Complete Unknown. He used lighting and a color palette unique to the 1960's time period, and made subtle changes as the film progresses into the later '60's.

Cinematographer Phedon Papamichael wanted to capture the evolution of Bob Dylan and his music in A Complete Unknown. He used lighting and a color palette unique to the 1960's time period, and made subtle changes as the film progresses into the later '60's.

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Jarin Blaschke: Crafting Darkness in Nosferatu

Media and the Munich massacre: September 5 DP Markus Förderer

Phedon Papamichael: Unveiling Bob Dylan in A Complete Unknown

Lawrence Sher, ASC on ShotDeck, Joker: Folie à Deux

Anora’s distinctive style: cinematographer Drew Daniels

The whimsical world of Wicked: Alice Brooks, ASC

Special Episode: A tribute to Adam Somner, Assistant Director, Producer for Ridley Scott, Steven Spielberg, Martin Scorsese, Paul Thomas Anderson, Alejandro González Iñárritu

From grunge to Gladiator II: John Mathieson, BSC

Capturing the Chaos of Saturday Night: Eric Steelberg, ASC

Action comedy redefined: Thelma director Josh Margolin and DP David Bolen

Jules O’Loughlin: Balancing action and character in The Old Man Season 2

The creepy cinematography of Smile 2: DP Charlie Sarroff
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