EMMYS INDUSTRY.
E ver since streamed shows started to improve on the DVD experience, the writing was on the wall for our shelf-hogging silver discs. Now, award shows are full of streaming content, and the line between a movie and television show look isn’t just blurred, it has disappeared. When we talk about productions in the pages of Definition , we make no distinction between how a film or television episodic was made. The rules are exactly the same. In fact, it could be argued that television is where the real innovation is happening. Especially while movies play the multiple-sequel game, trying to recover lost ground from the empty theatres of the pandemic. TV is where cinematographers get to drive the aesthetics of a production, adhere to the season’s ‘look bible’, or throw out the rules completely and go their own way. It’s a visual sandbox that movies could never dare to be. We are not particularly looking for something new; we are searching for craft – but not over-craft. Good cinematography is all about letting the story breathe – almost getting out of the way. The look is crucial, obviously, but it’s also not the only element in play, so read on for our verdict on top contenders throughout the longlist.
The 74th Primetime Emmys are on 12 September at the Microsoft Theater in LA. Who will win big? We dive into the cinematographic achievements of some leading nominees
WORDS. Julian Mitchell IMAGES. Various
35. SEPTEMBER 2022
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