Late Night with the Devil cinematographer Matthew Temple, ACS

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Late Night with the Devil cinematographer Matthew Temple, ACS

Cinematographer Matthew Temple, ACS used a combination of found-footage, mockumentary and 1970s late-night television styles for the critically acclaimed horror movie Late Night with the Devil. He used handheld cameras and close-ups for the documentary found footage look, while modern cameras mounted on vintage TV studio pedestals created the 70s TV show aesthetic.

Cinematographer Matthew Temple, ACS used a combination of found-footage, mockumentary and 1970s late-night television styles for the critically acclaimed horror movie Late Night with the Devil. He used handheld cameras and close-ups for the documentary found footage look, while modern cameras mounted on vintage TV studio pedestals created the 70s TV show aesthetic.

Cinematographer Matthew Temple, ACS used a combination of found-footage, mockumentary and 1970s late-night television styles for the critically acclaimed horror movie Late Night with the Devil. He used handheld cameras and close-ups for the documentary found footage look, while modern cameras mounted on vintage TV studio pedestals created the 70s TV show aesthetic.

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Hundreds of Beavers director Mike Cheslik and cinematographer Quinn Hester

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Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Hundreds of Beavers director Mike Cheslik and cinematographer Quinn Hester

Hundreds of Beavers director Mike Cheslik and cinematographer Quinn Hester shot the slapstick black-and-white comedy in Wisconsin in sub-zero weather. With a tiny budget, a tiny crew and about six beaver costumes, everyone involved had the desire to make a film that would stand out as a true indie.

Hundreds of Beavers director Mike Cheslik and cinematographer Quinn Hester shot the slapstick black-and-white comedy in Wisconsin in sub-zero weather. With a tiny budget, a tiny crew and about six beaver costumes, everyone involved had the desire to make a film that would stand out as a true indie.

Hundreds of Beavers director Mike Cheslik and cinematographer Quinn Hester shot the slapstick black-and-white comedy in Wisconsin in sub-zero weather. With a tiny budget, a tiny crew and about six beaver costumes, everyone involved had the desire to make a film that would stand out as a true indie.

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Working in small markets: DP Kyle Roberts

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Working in small markets: DP Kyle Roberts

As a DP working in Birmingham, AL, Kyle Roberts finds that being skilled enough to work in multiple roles, training others to be your crew, and the ability to problem-solve independently are key necessities.

As a DP working in Birmingham, AL, Kyle Roberts finds that being skilled enough to work in multiple roles, training others to be your crew, and the ability to problem-solve independently are key necessities.

As a DP working in Birmingham, AL, Kyle Roberts finds that being skilled enough to work in multiple roles, training others to be your crew, and the ability to problem-solve independently are key necessities.

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Late Night with the Devil cinematographer Matthew Temple, ACS

Hundreds of Beavers director Mike Cheslik and cinematographer Quinn Hester

Working in small markets: DP Kyle Roberts

Amy Vincent ASC on A Nice Indian Boy, Hustle & Flow, Eve’s Bayou

Strada CEO Michael Cioni: Using AI to simplify workflows

Dune: Part Two cinematographer Greig Fraser, ACS, ASC

Dynamics of a Working Camera Department with Greg Irwin, SOC

Masters of the Air cinematographer Richard Rutkowski, ASC

House of Ninjas showrunner and executive producer Dave Boyle

Jenelle Riley, Variety’s Deputy Awards and Features Editor, discusses the 2024 Academy Awards nominations

Bonus Episode: To Kill a Tiger director Nisha Pahuja and editor Mike Munn

Maestro cinematographer Matty Libatique, ASC
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