Cinematography

From A New Hope to The Mandalorian, these are the live-action Star Wars cinematic universe’s most perfect frames.

Want to get a lot of coverage with fewer set-ups? Consider opting for a moving master.

We chat with the show’s director of photography, P.J. Dillon, about how he shot the shield and looking forward to another season.

A little perspective never hurt anybody.

Check out a rapid-fire video essay that unpacks a handful of information, including how to control a shot list and how to shoot without a location visit.

Here’s lookin’ at you, beautiful final shots.

There’s a reason chiaroscuro lighting has been around for hundreds of years. It’s effective and dynamic, and it tells a story.

We chat with cinematographer Jess Hall about the process of duplicating seven television eras for the Marvel series.

Here’s a breakdown of how slow motion went from a technological hurdle to an aesthetic choice.