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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 🌎
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.