September 8, 2020

Mandy Walker, ASC, ACS on Mulan, Hidden Figures, Australia, Tracks, Shattered Glass, working with directors Niki Caro and Baz Luhrmann

Mandy Walker believes that her job as a cinematographer is not just to make pretty pictures, but to enhance an emotion with lenses, camera placement and lighting. She works on a gut and emotional level for films, getting across the feelings of the characters- a DP’s arsenal of tricks should only help convey what’s going on in the scene. For Mulan, Mandy and director Nikki Caro wanted to take a different approach from the Disney animated version, and were free to interpret the film as they wished. Mandy watched several Chinese action films such as House of Flying Daggers and went on location scouting trips to China to find the look and inspiration for the film. Mandy grew up in Australia and always loved photography, film and art, so she felt a passion to become a cinematographer right from the beginning. She skipped film school and began as a production assistant and loader in Australia, learning as she went on films such as Lantana, which was shot using almost only available light. Shattered Glass, which tells the true story of a journalist who made up the majority of his articles, was her first American film. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies, and she learned how to organize and delegate an entire camera department with multiple cameras. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure that how the characters were dressed and what they looked like matched the feel of what each scene is meant to convey. She watched a lot of archival footage from NASA, some of which was used in the film, and was thrilled to meet Katherine Johnson, one of the real-life subjects of the film.

Mandy Walker is currently working with director Baz Luhrmann again on a forthcoming biography film about Elvis Presley.

See Mulan on Disney Plus

Find Mandy Walker: https://www.mandywalkerdp.com/
Instagram: @mandywalkerdp

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep90/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

August 2, 2020

Greig Fraser, ASC, ACS on The Mandalorian, Lion, Rogue One: A Star Wars Story and more

The Cinematography Podcast Episode 85: Greig Fraser

World-renowned director of photography Greig Fraser grew up in Australia, working as a still photographer before he moved into cinematography, shooting shorts, TV shows and films for several Australian directors. Greig’s most recently completed project is The Mandalorian, which recently earned him an Emmy nomination. At first, Greig felt incredibly nervous about working on the frontline development for The Mandalorian because of the massive amount of technology involved. His usual approach as a DP has been naturalistic lighting, in a real setting, rather than an entirely manufactured environment on a soundstage. The Mandalorian brought together gaming technology and set design, which could only be done with the support of ILM and Lucasfilm. The Star Wars series used 3D digital environments built with Epic Games’ Unreal Engine gaming technology that was capable of interacting with the cameras and was projected on huge LED screens for very realistic backgrounds on the soundstage. Greig was not a Star Wars newbie- prior to The Mandalorian, he was the cinematographer of Rogue One: A Star Wars Story. As a fan of Star Wars, Greig felt some trepidation at first about shooting Rogue One, because he was worried about losing that passion in the day-to-day while on set. Greig met with Rogue One director Gareth Edwards and loved his early film Monsters, so he was convinced to take the job. Grieg also discusses his work on the 2016 film, Lion, for which he received an Oscar nomination for Best Cinematography. Greig was extremely excited to shoot Lion- he and fellow Australian director Garth Davis had worked together a number of times. As a photographer, Greig had traveled and shot in India, and he loved being able to return to India and Melbourne to shoot such a great story. For Lion, Greig and Garth Davis wanted to be very respectful of Indian culture, and be careful of their choices not to oversensationalize images of poverty. Greig shot many of the railway scenes in the film at the level of a small child to capture the character Saroo’s feelings of loss and helplessness.

Grieg Fraser is the cinematographer of two hugely anticipated films coming soon: Dune with director Denis Villeneuve and The Batman, directed by Matt Reeves.

Find Greig Fraser: Instagram @greigfraser_dp

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep85/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz