Emmy Nominated Cinematography: The Cameras, Lenses, and Looks of the Year’s Best TV Shows

IndieWire | 8/20/2019 | Staff
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IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited Series or Movie, and asked them which cameras and lenses they used — but even more important: Why were these these the right tools to create the look of their series?

The 2019 Emmy nominees for outstanding cinematography in this category are Jonathan Freeman (“Game of Thrones”), Zoë White (“The Handmaid’s Tale”), Colin Watkinson (“The Handmaid’s Tale”), Dana Gonzales (“Hanna”), Gonzalo Amat (“The Man In The High Castle”), M. David Mullen (“The Marvelous Mrs. Maisel”), and Robert McLachlan (“Ray Donovan”).

Emmy - Winner - Adriano - Goldman - Crown

2018 Emmy Winner: Adriano Goldman for “The Crown”

2017 Emmy Winner: Colin Watkinson for “The Handmaid’s Tale.”

Game - Thrones

“Game Of Thrones”

Nominated Episode: “The Iron Throne”

'Game - Thrones - Drogon - Godzilla - Force

'Game of Thrones': Unleashing Drogon's Godzilla Force in the 'Battle of King's Landing'

Jonathan Freeman: The Alexa was the ideal camera for “Game of Thrones.” The sensors’ dynamic range served us well over eight seasons. The original pilot was shot on film. When the first season began (2010), much of the pilot was to be reshot. Digital was being considered, and after comparative tests between film and digital systems, we determined that the Alexa mimicked film the best.

Game - Thrones - World - Topography - Variety

“Game of Thrones” is a fantastic world with a rich topography. We shot in a variety of locations representing the different landscapes. Whether it be the saturated mediterranean warmth of King’s Landing (Croatia) or the aqua patina of moss-incrusted rocks of the Iron Islands (Northern Ireland), the Alexa sensor often extracted color that was not seen by the eye on first glance. As well, the Alexa held phenomenal exposure detail which was very effective when shooting in our more extreme locations. We were able to achieve a dynamic range of contrast detail, including the bleached sands of an Essos desert (Spain) and in snow-capped...
(Excerpt) Read more at: IndieWire
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