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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 🌎
Секретный просмотр Историй Instagram
Просмотрщик Историй Instagram — это удобный инструмент, который позволяет вам тайно смотреть и сохранять Истории Instagram, видео, фотографии или IGTV. С помощью этого сервиса вы можете скачать контент и наслаждаться им в оффлайн-режиме в любое время. Если вы нашли что-то интересное в Instagram, что хотите посмотреть позже или хотите просматривать Истории, оставаясь анонимным, наш инструмент — именно то, что вам нужно. Anonstories предлагает отличное решение для скрытия вашей личности. Instagram запустил функцию Stories в августе 2023 года, и она быстро стала популярной на других платформах благодаря захватывающему формату с временными ограничениями. Истории позволяют пользователям делиться быстрыми обновлениями: фото, видео или селфи, дополненными текстом, эмодзи или фильтрами, и доступны только в течение 24 часов. Это ограниченное время создает высокий уровень вовлеченности по сравнению с обычными постами. В современном мире Истории — один из самых популярных способов общения и связи в социальных сетях. Однако, когда вы смотрите Историю, создатель видит ваше имя в списке зрителей, что может быть проблемой с точки зрения конфиденциальности. Что если вы хотите просматривать Истории, не будучи замеченным? Вот где Anonstories окажется полезным. Он позволяет вам смотреть публичный контент Instagram, не раскрывая вашу личность. Просто введите имя пользователя профиля, который вас интересует, и инструмент покажет его последние Истории. Особенности Просмотрщика Anonstories: - Анонимный просмотр: смотрите Истории без отображения в списке зрителей. - Нет необходимости в аккаунте: смотрите публичный контент без регистрации в Instagram. - Скачивание контента: сохраняйте любые Истории прямо на устройство для оффлайн-просмотра. - Просмотр Хайлайтов: получайте доступ к Хайлайтам Instagram, даже после 24 часов. - Мониторинг репостов: отслеживайте репосты или уровень вовлеченности на Историях для личных профилей. Ограничения: - Инструмент работает только с публичными аккаунтами; закрытые аккаунты остаются недоступными. Преимущества: - Защита конфиденциальности: смотрите любой контент в Instagram, не будучи замеченным. - Простой и удобный: не нужно устанавливать приложение или регистрироваться. - Эксклюзивные инструменты: скачивайте и управляйте контентом в способах, которые Instagram не предлагает.
Преимущества Anonstories
Просматривайте Истории IG анонимно
Следите за обновлениями в Instagram скрытно, защищая свою конфиденциальность и оставаясь анонимным.
Приватный просмотр Instagram
Смотрите профили и фотографии анонимно с помощью Приватного Просмотрщика профилей.
Бесплатный просмотр Историй
Этот бесплатный инструмент позволяет вам анонимно просматривать Истории в Instagram, гарантируя, что ваша активность останется скрытой от загрузившего Историю.
Часто задаваемые вопросы
Анонимность
Anonstories позволяет пользователям просматривать Истории Instagram, не уведомляя создателя.
Совместимость с устройствами
Работает без проблем на iOS, Android, Windows, macOS и современных браузерах, таких как Chrome и Safari.
Безопасность и конфиденциальность
Приоритет на безопасный, анонимный просмотр без необходимости ввода учетных данных.
Нет регистрации
Пользователи могут просматривать публичные Истории, просто вводя имя пользователя — без регистрации.
Поддерживаемые форматы
Легко скачивайте фотографии (JPEG) и видео (MP4).
Стоимость
Сервис бесплатен для использования.
Приватные аккаунты
Контент с приватных аккаунтов доступен только для подписчиков.
Использование файлов
Файлы предназначены только для личного или образовательного использования и должны соответствовать правилам авторского права.
Как это работает
Введите публичное имя пользователя для просмотра или скачивания Историй. Сервис генерирует прямые ссылки для сохранения контента на ваше устройство.