BLASFEMIA MAG

YOU CAN SEE EVERYTHING has some of my favorite cinematography of the year (brilliant work by David Bolen). It feels like a narrative, even though it’s a doc that was largely shot without any traditional film lighting (at least in the beach house scenes). The creative and technical approach to these shots is very similar to my process when directing / DP’ing my own narrative productions. I tend to steer away from overly soft and heavily stylized lighting as it feels generic to me and very digital. Film productions were not afraid of hard sources or blown out windows, and it’s part of what makes them hold up so well decades later. Usually I’ll choose my camera placement based on the natural and practical sources in an environment, and rely more on camera settings and lens choice to dial in the look (as opposed to replicating a studio setup with fully controlled film lighting). I’ve found this creates an “elevated naturalistic” look that feels less heavy handed and not instantly dated. It was amazing to see a similar approach taken to new heights on YOU CAN SEE EVERYTHING, which is beautifully shot across the board. And it’s a good reminder (especially for DIY filmmakers) that you can do so much with available light if you’re willing to embrace it. More gear doesn’t automatically mean better shots. Every project is different of course, but this is a great case in point for “less is more.”