Now Playing

Commercial Spotlight: Cinematographer Simona Susnea

Cinematographer Simona Susnea traces her career behind the camera back to an early interest in journalism, which in turn opened the door to still photography. Segueing into moving images, she went to film school in her native Romania and then continued her education at the U.K.’s National Film & Television School, where she earned her master’s in cinematography. Since graduating, she’s made London her base of operations, notching a steady stream of credits in music videos, shorts, documentaries and commercials.

Cinematographer Hillary Spera takes Panavision behind the scenes of the features Run and The Craft: Legacy.

The recent features Run and The Craft: Legacy bear a number of similarities. Chief among them: Both were shot by cinematographer Hillary Spera. Each story also exists in the realm of horror-thrillers, and each involves a mother-daughter relationship that turns out to be something other than what’s originally believed. “In both cases, I would say it’s a very strong bond between the mother and daughter,” Spera notes. “In both movies, they really love each other and are working to define their relationship.”

Don Burgess, ASC and Light Iron’s Corinne Bogdanowicz reteam for The Christmas Chronicles: Part Two and discuss their longtime collaboration in the panel discussion “Cinematography From Set to Screen.”

Continuing the story of “true believer” Kate Pierce (Darby Camp) and her family — and shining a broader light on the goings-on at the North Pole that had previously been glimpsed in 2018’s The Christmas Chronicles — the Netflix holiday feature The Christmas Chronicles: Part Two found cinematographer Don Burgess, ASC reteaming with Light Iron senior DI colorist Corinne Bogdanowicz. “Don and Corinne worked at such a meticulous level to bring our photographic vision to The Christmas Chronicles: Part Two,” says director Chris Columbus. “Corinne is the most precise, fast and best colorist I’ve ever worked with. Together, Don and Corinne have worked closely with me to create a holiday world that’s warm, magical and inviting.”

Director Julia Swain, cinematographer Teodora Totoiu, and colorist Corinne Bogdanowicz shine a light on the documentary Lady Cameraman’s journey to the screen.

“Cinematography has truly saved my life,” director of photography Julia Swain says in the opening minutes of the documentary Lady Cameraman. Directed by Swain, the movie charts her journey to find and connect with other women who are working in her chosen and beloved profession — a career, she notes in her narration, that has helped her navigate overwhelming personal tribulations. The resulting documentary features archival material as well as more than 20 new interviews with such cinematographers as Anette Haellmigk, Autumn Durald, Cybel Martin, and ASC members including Natasha Braier, Reed Morano, Amy Vincent and Joan Churchill — the latter of whom shares a story about her union card that provides the documentary’s title — as well as Local 600 national executive director Rebecca Rhine, Marvel Studios’ executive vice president of production Victoria Alonso, and others. In presenting their stories, the documentary showcases powerful examples of women overcoming the motion-picture industry’s barriers to entry, offering a vision of hope that Swain describes as “a love letter to young cinematographers.”

“The last few months have been busy again,” says cinematographer Kai Saul, referencing the return of productions following the motion-picture industry’s abrupt shutdown earlier this year in response to COVID-19. “My crew and I are incredibly grateful to be back to work. Everybody understands how important it is to stay safe and healthy so we can keep working. We trust each other to be safe on and off set, and, knock on wood, we’ve all been okay.”

Don Burgess, ASC reteams with director Robert Zemeckis to adapt The Witches, Roald Dahl’s magical tale of tragedy and triumph.

Based on the book by Roald Dahl and now streaming on HBO Max, The Witches tells the story of a young boy (Jahzir Bruno) who goes to live with his grandmother (Octavia Spencer) in 1968 Alabama after having lost both of his parents in a car accident. Just as Grandma seems to be succeeding in bringing the Boy out of his shell, his world is rocked again by the revelation that a real-life witch is in town and poses a grave threat. Hoping to let the danger pass, Grandma and the Boy sneak away to a ritzy hotel, but as fate would have it, an entire coven of witches, led by the Grand High Witch (Anne Hathaway), has gathered at the same setting, where they hatch a plot to turn all the children of the world into mice.

Cinematographer Seamus Tierney captures the tricks and treats of Hubie Halloween in large format with DXL2.

Hubert Shubert “Hubie” Dubois was born and raised in Salem, Mass. He loves his hometown, and as Salem’s self-appointed “official volunteer Halloween helper,” he makes it his duty every October 31 to ensure a safe and fun holiday is enjoyed by all. But when a patient at the nearby Westfield State Mental Hospital goes missing, a mystery is set in motion that will change the town, and Hubie’s life, forever.

Stephan Pehrsson, BSC shoots on DXL2 and partners with Light Iron to realize the vibrant visuals of the series Utopia.

The comic book Dystopia tells the story of Jessica Hyde, a young girl on the run from the evil Mr. Rabbit, who holds Jessica’s scientist father captive and forces him to create unthinkable biological horrors. Written and illustrated by an anonymous artist, Dystopia has earned legions of fans, some of whom have found far deeper meaning in its pages and believe clues to real-world viruses and pandemics are layered into its artwork.

COVID-19 UPDATE

COVID-19 UPDATE

Now Playing

Commercial Spotlight: Cinematographer Simona Susnea

The Witching Hours

Cinematographer Hillary Spera takes Panavision behind the scenes of the features Run and The Craft: Legacy.

Holiday Adventure

Don Burgess, ASC and Light Iron’s Corinne Bogdanowicz reteam for The Christmas Chronicles: Part Two and discuss their longtime collaboration in the panel discussion “Cinematography From Set to Screen.”

Beacons of Hope

Director Julia Swain, cinematographer Teodora Totoiu, and colorist Corinne Bogdanowicz shine a light on the documentary Lady Cameraman’s journey to the screen.

Commercial Spotlight: Cinematographer Kai Saul

A Mouse’s Tale

Don Burgess, ASC reteams with director Robert Zemeckis to adapt The Witches, Roald Dahl’s magical tale of tragedy and triumph.

Happy Hauntings

Cinematographer Seamus Tierney captures the tricks and treats of Hubie Halloween in large format with DXL2.

The Color of Paradise

Stephan Pehrsson, BSC shoots on DXL2 and partners with Light Iron to realize the vibrant visuals of the series Utopia.

Pages