It's often said that the best cinematography is the kind you don't notice. It just sweeps you along in the story and you don't really appreciate it until later. That's the way I felt watching Ripley. Once I sunk into the sumptuous world of its black and white aesthetic, I never looked back. But now, weeks after I finished, I find myself thinking of the shots in that show more than any other this year. Now, Variety sat down with cinematographer Robert Elswit and pulled back the curtain on the stunning visuals that defined the limited series.Elswit is known for his work on There Will Be Blood and Nightcrawler, and his distinct style is once again on full display in this adaptation of Patricia Highsmith's iconic novel. Check out the video of him below. Cinematographer Robert Elswit Breaks Down 'Ripley's' Black & White CinematographyRipley really is one of those shows you have to see to believe. It just sucks you into the world so quickly, and a lot of that has to do with the patience of the shots. It's like we're being lured by external forces. What I loved about this video was Robert Elswit's openness to discuss how the look of the film is indebted to the Panavision Dalsa Super 65 camera and its incredible lenses. The lens he used has an out of focus quality to the middle range, that according to Elswit, is quite striking. He talks about how they wanted to shoot in low light...
Published By: NoFilmSchool - Tuesday, 18 June