Articles


Aziz Al-Dilaimi - Talent, A Curse and a Blessing

Amsterdam, 2024-07-12 - Gerlinda Heywegen

Aziz Al-Dilaimi. His work is often flamboyant, while he himself is reserved. He speaks softly and carefully. He visualizes everything, long before even a second has been shot, and then, in the preparation, it all has to be condensed into words. And that’s not always easy. In his opinion, it’s a curse and a blessing. And that is not just a flippant remark. It is not a question of values either, ‘non-judgemental’ is who he is. It’s almost a matter of life and death, in fact, as becomes apparent in a good, long interview in Amsterdam one morning in spring.


Evelin van Rei - shooting Passenger

London, 2024-06-12 - Evelin van Rei

Evelin shot episodes 4-6 with director Nicole Charles for the new Sister Pictures (The Power, Landscapers, Chernobyl) series called ‘Passenger’. They shot the fictional village of Chadder Vale in different locations across Greater Manchester and West Yorkshire, on the ARRI Alexa Mini LF paired with the Zeiss Supreme Prime Radiance Lenses.


Lola Mooij - Finding Magic in Real Life

Amsterdam, 2024-01-23 - Judith Boeschoten and Nina da Costa

It’s a cold winter day when we arrive at Lola Mooij’s front door. She invites us in, pours us hot tea, and lights a few candles to make her already warm apartment extra cozy for us. She was reading The Secret Garden, a children's book written in 1911, about finding magic in the mundane. For the next two hours, Lola describes how she brings her own projects to life, inspiring her crew to pour in that extra touch of magic, whatever genre they’re working in.


2024 ROBBY MÜLLER AWARD goes to GRIMM VANDEKERCKHOVE

Amsterdam, 2023-12-12 - NSC / IFFR

The recipient of our fifth annual Robby Müller Award is Belgian cinematographer Grimm Vandekerckhove, renowned for his delicate, humanist work with filmmaker Bas Devos, amongst others.


Goert Giltay - Zen and the Art of Tightrope Walking

Amsterdam, 2023-11-29 - Gerlinda Heywegen

Goert Giltay, recently retired director of photography with a huge track record, likes to leave things up to others when his style is concerned. Every film was a new search. Sometimes his work had to be zen and a few times he got angry. But friendship was the core of his work, with ‘his’ heroes of cinema, the directors.


EURO CINE EXPO 2023 - MOTORWORLD, MUNICH

Amsterdam, 2023-07-05 - Miga Bär

Last year Munich and the German film industry were introduced to a new event called Euro Cine Expo. On June 30 and July 1 of this year the sophomore edition took place at Motorworld in Munich.


Lennert Hillege - Making Movies at Full Steam!

Amsterdam, 2023-06-08 - Gerlinda Heywegen

Director of Photography Lennert Hillege claims he does not have his own style. He is just as good or bad as the project he works on. He says he is always looking for the right wavelength to attune to in collaborations, whether that is with directors he has worked with for years or whether he works with new ones, such as Steve McQueen with whom he worked recently.


HBO CAS 2023

Amsterdam, 2023-06-21 - Ties Versteegh NSC

On Wednesday, June 14th, the NSC presented the exclusive HBO CAS 2023 showcased by Director of Photography:Suny Behar.


Piotr Kukla - No plans on retiring any time soon!

Den Haag, 2023-01-06 - Gerlinda Heywegen

Piotr Kukla will often use that word in this interview when he is talking about something or someone. A little afraid that he won’t be able to work in the Netherlands anymore because of his age, enthusiastic about his students at the Łódź Film School in Poland. Full of love for the directors he has worked with for years, and where storyboarding is sacred.


P I N A

Amsterdam, 2023-01-13 - Nina da Costa

In the run-up to the ceremony of the 4th edition of the Robby Müller Award, the NSC takes you on a journey along the films of winner cinematographer Hélène Louvart AFC.


Sander Snoep - Never in charge, always a guest

Amsterdam, 2022-09-02 - Gerlinda Heywegen

Sander Snoep has been a well-known player in the Dutch documentary scene for years and would never have expected to still be so passionate about his profession. He is still curious every single time he’s starting a project. How his films get made, in rain or shine, does not matter to him. As long as they come about.


Paul Özgür - In a hurry to make that one masterpiece

Amsterdam, 2022-02-25 - Gerlinda Heywegen

He’s aiming for a large audience. His work has to be seen by as many people as possible. He talks about balance, Dutch DP Paul Özgür. In style and story and also in his own portfolio. And then there are the rules.


Myrthe Mosterman - Finding Synergy

Amsterdam, 2021-11-15 - Gerlinda Heywegen

A Gouden Kalf Award (Dutch film award) for her first feature film; that is what happened to DP Myrthe Mosterman in October 2020. In a Zoom interview, she talks about her style and how she prefers to work. NSC manifest New Deal pops up once again in this interviews series and it seems inevitable to address ‘being a woman’ within this ‘male profession’. But so far, she does not yet have to use a nom de plume.


Jean Counet - A jazz musician’s travels

Amsterdam, 2021-06-01 - Gerlinda Heywegen

There were five films on the shortlist for discussion with DP Jean Counet. Two feature films and three documentaries. Although Counet studied Directing at St Lukas, Brussels, he prefers to be a cameraman. But the conversation via Zoom kicked off with his own work, due to the March 2020 lockdown.


Martijn van Broekhuizen - Gangs of London

Amsterdam, 2021-04-23 - Aart Verschuur

Martijn van Broekhuizen worked on the first season of Gangs of London and is currently shooting the second season. 


Richard van Oosterhout - Insight and Wonder

The Netherlands, 2021-02-10 - Gerlinda Heywegen

Netherlands Society of Cinematographers initiates a series of interviews. NSC chair Richard van Oosterhout starts. He talks about his work, a Dutch New Deal, creativity on set and about breaking with what you know.


2021 ROBBY MÜLLER AWARD goes to Kelly Reichardt

Rotterdam, 2020-12-22 - Bianca van Riemsdijk

Kelly Reichardt will receive the second annual Robby Müller Award. As part of the award, she will also receive a gallery print of one of Robby Müller’s Polaroids.


Sidik and The Panther

Amsterdam, 2020-11-17 - Freek Zonderland

SIDIK AND THE PANTHER is a film about a man called Sidik, wandering around in the mountains of Kurdistan looking for a sign of the Persian leopard. Directed by Reber Dosky and shot by Roy van Egmond. Selected for IDFA 2019 and Camerimage 2020, mominated for an IMAGE award.


Sisters

Amsterdam, 2020-05-05 - Freek Zonderland

ZUSSEN (SISTERS) is a short dance film by director Daphne Lucker and cinematographer Casper van Oort. It has screened and has won prices at festivals all over the world. In November it screened in the student competition at Camerimage and it won the IMAGO Student Award 2020. 


Onderhuids

Amsterdam, 2020-04-27 - Freek Zonderland

ONDERHUIDS (UNDER THE SKIN) from director Emma Branderhorst and cinematographer Michel Rosendaal screened at the Berlinale earlier this year. We spoke with Michel about this poetically shot twenty-minute short film. 


First ROBBY MÜLLER AWARD goes to Diego García

Rotterdam, 2019-10-30 - IFFR / NSC

The Robby Müller Award honours an ‘image maker’ who, in the spirit of the late Robby Müller, has created an authentic, credible and emotionally striking visual language throughout their oeuvre. The first award goes to Diego García and will be presented at the 49th International Film Festival Rotterdam.


The Circle of Film

Amsterdam, 2019-10-02 - Jean van de Velde

"Wil de Nederlandse filmcultuur overleven, dan zal de filmketen een filmketting moeten worden! Dan moet het einde van die keten (de filmexploitatie) aan het begin (de filmproductie) geklonken worden. Dan moeten de baten aan het einde de 'boost' voor een nieuw begin zijn."


Regisseurs naar de achterbank

Amsterdam, 2019-08-24 - Jos van der Burg & Karin Wolfs

“Doreen krijgt heel veel power.” Aldus waarnemend Filmfonds-directeur Ger Bouma tien jaar geleden over de benoeming van Doreen Boonekamp tot directeur. Anders dan haar voorgangers kreeg Boonekamp bij haar aantreden twee petten: ze werd zowel directeur als bestuurder van het Filmfonds.


New Deal NSC

Amsterdam, 2019-04-17 - NSC

Uit een NSC-enquête die in mei 2018 onder de leden is gehouden, was de belangrijkste conclusie dat het de DP’s frustreert dat ze hun werk niet optimaal kunnen uitvoeren. Daarom dit manifest met suggesties om het werkproces te veranderen.


Living the Light, at 75th Venice International Film Festival

Amsterdam, 2018-11-18 - Vincent Visser

Living the Light – Robby Müller, made by Claire Pijman NSC, will have its world premiere at the 75th Venice International Film Festival and is selected for the Venice Classics competition


Time Layers Come Together

Amsterdam, 2018-11-17 - Vincent Visser

'Paolo Ventura, Vanishing Man,’ shows how an Italian artist creates his own timeless melancholic world in a barn on an abandoned mountaintop in Italy. With paint, cardboard, and relics of a human life, he resonates his childhood’s memories and isolation by giving himself and found objects a new magical life.   


Frank van den Eeden about Waldstille

Amsterdam, - Vincent Visser

Dutch cinematographer Frank van den Eeden (May 14, 1971), resident of Antwerp is best known for his work with directors such as Fien Troch, Nanouk Leopold and Jan Verheyen. Besides many nominations he has won several awards for his work as cinematographer.  One of his later productions is ‘Waldstille’ from writer and director Martijn Maria Smits, a feature film that got its world-premiere during the San Sebastian Film Festival in 2016. The NSC talked with Frank about this film.


NSC Investigates Film Making Process in The Netherlands

Amsterdam, 2019-05-01 - NSC

The Netherlands Society of Cinematographers (NSC) conducted a survey among its members as a response to the Netherlands Film Production Incentive 2014-2017 evaluation.


The Cinematographer as Co-Author

Amsterdam, 2019-05-09 - Hans Beerekamp

While cleaning up his archive, film journalist Hans Beerekamp found several editions of the (small-scale published) Dutch film magazine Cineécri.


Emotional Shapes and Textures - Daniël Bouquet

Amsterdam, 2018-07-15 - Vincent Visser

Immediately after his graduation from the Dutch Film Academy in 2006, Daniël Bouquet made a flying start as Director of Photography. For his second feature length production “Nothing Personal” (2008) he won the Golden Calf award for best Cinematography during the Netherlands Film Festival in 2009. Nowadays he works mainly on a variety of international projects, amongst commercials for major brands like Adidas, Gillette and Vogue. The NSC talked with him about his career, interests and more.  


Beerified Scope

Amsterdam, 2018-11-16 - Vincent Visser

Joris Kerbosch (Culemborg, 1980) is best known for his work as cinematographer for directing duo Steffen Haars and Flip van der Kuil, for whom he shot the movies ‘New Kids Turbo’ (2010), ‘New Kids Nitro’ (2011) and ‘BROs BEFORE HOs’ (2013). ‘Ron Goossens, Low-Budget Stuntman,’ is their fourth feature film collaboration. Together those comedies where amongst the highest grossing films in The Netherlands and acclaimed international recognition. NSC spoke with cinematographer Joris Kerbosch about the film.


GHOST TROPIC

Amsterdam, 2024-01-17 - NSC

The winner of the fifth Robby Müller Award is the Belgian DOP GRIMM VANDEKERCKHOVE. He is known for the subtler way in which he captures the inner world of characters, such as that of a cleaning lady on a nighttime journey home in GHOST TROPIC (2019)

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Evelin van Rei - shooting Passenger


Amsterdam, 2024-06-12 - Evelin van Rei

In the small Northern village of Chadder Vale, a close-knit community is sent spinning on its axis following a series of strange and unnatural crimes.

After arriving there five years ago, former detective Riya Ajunwa has been searching for that 'one big crime', that one challenge that will make her feel alive again. Then one-night local girl, Katie Wells is mysteriously abducted. Her car is found abandoned and there are traces of blood on the seats. But the village barely has time to register Katie's disappearance before she reappears the next day, safe and sound. The rest of the villagers ask few questions and life resumes as normal. But for Riya, a relative outsider to the Chadder Vale way of life, none of this sits right.  As a series of strange happenings and increasingly horrific crimes start unfolding within the village, the residents start resorting to short-sighted theories and blaming outside influences. Riya fights hard to convince the villagers that all is not as it seems. And before long she is drawn into a universe unlike anything she has ever seen.

What drew you to the project?

The project was brought to my attention by fellow badass and leader of tomorrow, director Nicole Charles. We’d been trying to work together for quite a few years now, and the stars finally aligned. Or our schedules, should we say!
What I loved about the initial draft scripts was the post-apocalyptic scale of the story and show, the deeply rooted supernatural and otherworldly undertones, and the complexities of this small, weary isolated community existing in this snow-covered landscape. Snow is like this blanket that encompasses and transforms the scenery of a place. It covers and supresses the hidden complexities of this community, almost self-protecting. It represents the emotional isolation and rigidity, and a warning against narrow-mindedness of Chadder Vale’s characters, and of our audience’s expectations. As the snow starts to melt, parts of the subconscious come to light, and so the inner workings of our characters minds’, and their morality are exposed. The melting of snow symbolises the dissolving of the mystery, around which the series is scripted.

How was it to shoot block 2 instead of block 1?

The task that is asked of a block 2 cinematographer is very different than that of a block 1 cinematographer. As block 2, you’re part of this ‘relay race’ and are tasked to take over the second leg of a series for which the look, approach, and strategy have been established. It’s about maintaining continuity, and mimicking the work, signature and voice of block 1, as if the series were only to be shot by one person. It is also about maintaining harmony, both in terms of the rushes, but also on set. The energy, the spirit, and making sure the lead actors keep feeling safe, heard and taken care off. For example, if a particular way in lighting and ‘emotional safety’ and ‘comfort’ has been established for a lead actor in block 1, then I would continue that in block 2, as and when appropriate.

The best part about a block 2 is progressing the look, pushing the envelope, and growing the story in tension and size. One key element and crucial part of the unfolding narrative in block 2 are the intensifying and escalating flashbacks, dreams and hallucination sequences. Some of these block 2 elements were brought forward into block 1 during the edit.

Nicole and I wanted these to be visually-distinct from the main body of the show, and from each other. Nicole would share an idea with me, and explain what is important to her tonally within these scenes, I’d interpret that visually, and then we’d built on that like two peas in a pod!

The flashbacks would be disjointed, comprise of Dutch angles, strange compositions, with focus on ‘the wrong object’ within the frame. The dreams would be defocused, shot at 8fps, utilise double exposure, with a strong focus on objects, and character’s face. The hallucinations would look ‘outward’, more of a POV experience, and we’d utilise a lens baby, tilt shift lenses, or prisms of some sort.

How was it to shoot block 2 instead of block 1?

The task that is asked of a block 2 cinematographer is very different than that of a block 1 cinematographer. As block 2, you’re part of this ‘relay race’ and are tasked to take over the second leg of a series for which the look, approach, and strategy have been established. It’s about maintaining continuity, and mimicking the work, signature and voice of block 1, as if the series were only to be shot by one person. It is also about maintaining harmony, both in terms of the rushes, but also on set. The energy, the spirit, and making sure the lead actors keep feeling safe, heard and taken care off. For example, if a particular way in lighting and ‘emotional safety’ and ‘comfort’ has been established for a lead actor in block 1, then I would continue that in block 2, as and when appropriate.

The best part about a block 2 is progressing the look, pushing the envelope, and growing the story in tension and size. One key element and crucial part of the unfolding narrative in block 2 are the intensifying and escalating flashbacks, dreams and hallucination sequences. Some of these block 2 elements were brought forward into block 1 during the edit.

Nicole and I wanted these to be visually-distinct from the main body of the show, and from each other. Nicole would share an idea with me, and explain what is important to her tonally within these scenes, I’d interpret that visually, and then we’d built on that like two peas in a pod!

The flashbacks would be disjointed, comprise of Dutch angles, strange compositions, with focus on ‘the wrong object’ within the frame. The dreams would be defocused, shot at 8fps, utilise double exposure, with a strong focus on objects, and character’s face. The hallucinations would look ‘outward’, more of a POV experience, and we’d utilise a lens baby, tilt shift lenses, or prisms of some sort.

Another cherished, new location for our block was the prison cell, which provided me with great autonomy for a few different scenes. In one scene in episode 4 Kane sits in the cell, isolated, trapped, running out of time. His walls are closing in. Later on in episode 5, he is accompanied by Riya. The energy is informal, sympathetic. He is about the be charged with murder though innocent and disconnected, his character delivers this deeply moving monologue about people putting seeds in his head, pushing him down roads he doesn’t want to go on, and his longing for a quiet life, and a way out. Prison is his way out.

I adore a lingering camera, a minimalist approach, carefully curated frames, ‘slow cinema’, fewer cuts, long developing takes in which a landscape of light and character can breathe, unfold, explored and discovered like a painting. Both these scenes demanded this approach. Though there were more characters physically present in the later scene, it was Kane’s scene entirely and his presence and mind space was the only one that mattered. His words are more like a spoken poem, and so a singular camera move into the ‘unseen’ psychological space was justified.

Nico Mirallegro who plays Kane is such a fantastic actor, incredibly instinctual, collaborative and reactive to ‘dance’ with the camera, and this was felt throughout his performances.

What was the biggest technical challenge you faced?

The storyline of the entire series unfolds in just 9 days, and it’s set in a cold, snow-covered landscape. Due to budget and scheduling, block 2 was shooting from April to June which was deep into spring, with the heatwaves and hard sunlight of summer lingering. The biggest challenge, both during principal photography and post-production, was to match it to block 1’s winter look, and ‘pretend’ the trees didn’t go from being completely bare to being vivid green and in full bloom in a matter of days. Chadder Vale indeed has mysterious, unnatural powers!

All the snow and winter elements, night scenes, and the post-apocalyptic scale of the story were written out of the block 2 scripts. The only SFX and VFX element left of scale was the frozen lake scene in episode 5 were Eddie (played by the formidable Barry Sloane) falls through the ice. This was a fun and carefully planned operation across a multitude of departments. Running multiple cameras meant I could bring in some familiar and friendly faces, like camera operator Richard Bevan ACO. With most block 2 scenes now set in exterior daytime, apart from the isolated and sudden pop of winter wonderland at the frozen lake, colourist and fellow artisan Max Goldini at Picture Shop in Manchester had his work cut out for him. He took it in his stride, and did a formidable job!