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samchippy
Sam Chiplin
Cinematographer
WME
United Agents
‘The Stranger’ in cinemas October 6 and on Netflix international October 19
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
“The story takes place over a huge period of time, and we wanted to create a strong spine for the show visually. We wanted a very visceral-feeling show, and rather than try to force a visual approach we let the story and the material talk to us.”
Sam Chiplin, masterful #cinematographer of ‘The Narrow Road to the Deep North’, takes us #behindthescenes on the brutally poetic adaptation of the Richard Flanagan novel.
“We were highly disciplined with light in this show,” Chiplin continues. “In the POW camps, when we were diving into the terror of memory and trauma, we leant into a very reactive camera, murky and handheld, following the boys through the camp like a fever dream. We chose locations that were buried deep into valleys so we could stabilise the quality of light we wanted. When Dorrigo is falling in love, we leant into a warmer and softer feel. We embraced more color in the images, sun flares… we wanted the audience to feel free, and used this section as a visual pressure valve. For light, tonality and compositional inspiration I was looking at a lot of single source paintings from the 17th century, where bodies meld into each other. The abstraction of human form melting together felt like a good start for the POW camps.
The #Cseries feel alive to me. They have aberrations, softness, at times can be unpredictable, but they always feel honest. We weren’t looking for sharpness or clarity – we wanted the images to feel like they were obscured by time. The C series feel that way; they have cinematic history living inside them. #Panavision have always allowed me the freedom to test and experiment with a huge pool of lenses and filtration. I can get quite specific with lenses and Panavision is always very supportive and patient!
Before this shoot I broke my leg terribly, so for the first time in my career I couldn’t ferret all over the set – I had to lean heavily on my close collaborators and trust in my camera operator Andy Gough (@andygough_). I usually operate myself, so working with Andy opened a whole new layer of communication that was fairly new to me, but things became instinctual and it felt like we were working as one organism. Thank you Andy!”
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
‘Narrow Road to the Deep North’ nominated for an ASC award! Very humbled to be recognised by some of the best Cinematographers in the world @the__asc . I broke my leg terribly right before this shoot but @andygough_ stepped in and saved me at the last minute - operating under some terrible and gruelling conditions. Thank you Andy and thank you to the entire cast and crew! None of this is possible without a huge team of dedicated collaborators and artists ❤️🔥
Lost Flowers selected in competition at CamerImage 2023 🇵🇱 🥹
Scary being included alongside so many insane cinematographers 🫨
@glendyn_ivin ty for trusting me
Lost Flowers selected in competition at CamerImage 2023 🇵🇱 🥹
Scary being included alongside so many insane cinematographers 🫨
@glendyn_ivin ty for trusting me
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Shot over 3 years ago - this commercial just surfaced after being buried by covid. 💗@lizmurphytv @allidal @lukegoodrum
Shot on the Panavision primo 17.5mm and 21mm @panavisionofficial
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Lost frames from The Stranger. Always hurts when scenes hit the cutting room floor but that’s showbiz bb 🔪 🎞️
Port Gawler, South Australia.
From memory this was the first day scouting for The Stranger
Port Gawler, South Australia.
From memory this was the first day scouting for The Stranger
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
‘The Stranger’ has been nominated for Cinematography in film at the 2022 AACTA awards. 🫣
Honoured to be sitting alongside so many talented people from every department. The film is now streaming on Netflix worldwide 🌎
Guarda le Storie di Instagram in Segreto
Il Visualizzatore Storie Instagram è uno strumento facile da usare che ti permette di guardare e salvare le storie, video, foto o IGTV di Instagram in modo segreto. Con questo servizio puoi scaricare contenuti e goderteli offline ogni volta che vuoi. Se trovi qualcosa di interessante su Instagram che vorresti rivedere più tardi o vuoi vedere le storie restando anonimo, il nostro Visualizzatore è perfetto per te. Anonstories offre una soluzione eccellente per mantenere la tua identità nascosta. Instagram ha lanciato per la prima volta la funzionalità Storie nell'agosto 2023, che è stata rapidamente adottata da altre piattaforme per il suo formato coinvolgente e tempestivo. Le storie permettono agli utenti di condividere aggiornamenti rapidi, che siano foto, video o selfie, arricchiti con testo, emoji o filtri, e sono visibili per solo 24 ore. Questo limite di tempo crea un forte coinvolgimento rispetto ai post normali. Oggi, le storie sono uno dei modi più popolari per connettersi e comunicare sui social media. Tuttavia, quando guardi una storia, il creatore può vedere il tuo nome nella loro lista di visualizzatori, il che potrebbe essere un problema per la privacy. E se desiderassi navigare tra le storie senza essere notato? Ecco dove Anonstories diventa utile. Ti consente di guardare contenuti pubblici su Instagram senza rivelare la tua identità. Basta inserire il nome utente del profilo che ti interessa e lo strumento mostrerà le sue ultime storie. Funzionalità del Visualizzatore Anonstories: - Navigazione Anonima: Guarda le storie senza apparire nella lista di visualizzazione. - Nessun Account Necessario: Visualizza contenuti pubblici senza registrarti su Instagram. - Download dei Contenuti: Salva qualsiasi contenuto delle storie direttamente sul tuo dispositivo per un uso offline. - Guarda i Punti Salienti: Accedi ai punti salienti di Instagram, anche oltre la finestra di 24 ore. - Monitoraggio dei Repost: Tieni traccia dei repost o dei livelli di interazione nelle storie per i profili personali. Limitazioni: - Questo strumento funziona solo con account pubblici; gli account privati restano inaccessibili. Vantaggi: - Privacy: Guarda qualsiasi contenuto su Instagram senza essere notato. - Semplice e Facile: Nessuna installazione di app o registrazione richiesta. - Strumenti Esclusivi: Scarica e gestisci contenuti in modi che Instagram non offre.
Vantaggi di Anonstories
Esplora le Storie IG in Privato
Segui gli aggiornamenti di Instagram discretamente proteggendo la tua privacy e restando anonimo.
Visualizzatore Privato di Instagram
Guarda profili e foto in modo anonimo facilmente usando il Visualizzatore di profili privati.
Visualizzatore di Storie Gratuito
Questo strumento gratuito ti permette di visualizzare le storie di Instagram in modo anonimo, garantendo che la tua attività rimanga nascosta dall'utente che carica la storia.
Domande frequenti
Anonimato
Anonstories consente agli utenti di guardare le storie di Instagram senza avvisare il creatore.
Compatibilità Dispositivi
Funziona senza problemi su iOS, Android, Windows, macOS e browser moderni come Chrome e Safari.
Sicurezza e Privacy
Garantisce una navigazione sicura e anonima senza richiedere credenziali di accesso.
Nessuna Registrazione
Gli utenti possono visualizzare storie pubbliche semplicemente inserendo un nome utente—nessun account richiesto.
Formati Supportati
Scarica foto (JPEG) e video (MP4) facilmente.
Costo
Il servizio è gratuito.
Account Privati
Il contenuto degli account privati è accessibile solo ai follower.
Utilizzo dei File
I file sono destinati solo a uso personale o educativo e devono rispettare le normative sul copyright.
Come Funziona
Inserisci un nome utente pubblico per visualizzare o scaricare storie. Il servizio genera link diretti per salvare i contenuti localmente.