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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 🌎
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.