{"id":152040,"date":"2021-03-25T06:00:00","date_gmt":"2021-03-25T11:00:00","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=152040"},"modified":"2021-03-23T17:24:45","modified_gmt":"2021-03-23T22:24:45","slug":"iconic-cinematography-reed-morano","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/iconic-cinematography-reed-morano\/","title":{"rendered":"Iconic Cinematography: Our 5 Favorite Shots from Reed Morano"},"content":{"rendered":"\n

Explore the best shots and sequences from the career highlights of cinematographer-turned-director Reed Morano.<\/span><\/h2>\n\n\n\n

There\u2019s a popular narrative of that one astute filmmaker who can start at the bottom, camera in hand, and work their way to the top. True, there might be just as many examples of finding success due to money or influence. But, the fact that we can find and trace the steps of those who have made their way by developing their craft and generally caring about each step up the mountain is simply inspiring.<\/p>\n\n\n\n

One of my favorite examples of a filmmaker rising from documentarian to major Hollywood director is Reed Morano<\/a>. Known for her cinematography while DP-ing indie standout features like Frozen River<\/a><\/em> and Little Birds<\/a><\/em> and award winning television shows like Looking<\/a><\/em> and Vinyl<\/a><\/em>, she now serves on her own projects as director and cinematographer, including The Handmaid’s Tale<\/a><\/em> and I Think We’re Alone Now<\/a><\/em>. Morano has found success at every level with her cinemagraphic eye, camera, and lensing skills.<\/p>\n\n\n\n

For those looking to start out on careers of their own, or simply looking to hone their own cinematography by learning from the masters, let\u2019s dive further into the five best shots and sequences (so far) from Reed Morano\u2019s inspiring career.<\/p>\n\n\n\n

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Shut Up and Play the Hits<\/em><\/span><\/h3>\n\n\n\n
\"LCD<\/a>
A shot from the hybrid concert\/documentary film on the band LCD Soundsystem. Image via Oscilloscope<\/a>.\u00a0<\/em><\/figcaption><\/figure>\n\n\n\n

To understand her work, simply look at her roots as a documentary filmmaker<\/a>. One of Morano’s first major projects was serving as the director of photography behind the\u00a0LCD Soundsystem documentary\u00a0Shut Up and Play the Hits<\/a><\/em>. Tackling a multi-camera concert doc is no small task. In many ways, if you want to challenge your cinematic capabilities, trying to capture quality footage in a crowded, dark, and chaotic situation is the perfect baptism by fire, so to speak.<\/p>\n\n\n\n

However, what I find really fascinating about the concert doc isn’t the concert footage itself. Instead, it’s Morano’s work in lensing several up-close-and-personal scenes with the band’s frontman James Murphy<\/a>, which help to set the stage for the historic show. These little vignettes are shot in what looks to be natural light. We follow Murphy as he goes through his morning routine long before he’s on stage and under the bright lights.<\/p>\n\n\n\n

\"James<\/a>
Morano’s up-close-and-personal approach to cinematography. Image via Oscilloscope. <\/em><\/figcaption><\/figure>\n\n\n\n

These closeups, which make amazing use of lighting and macro lensing, would go on to become one of Morano’s strongest looks in her cinematography. They ground the documentary in the real world, but also help to turn the story into a character-driven narrative instead of just a flashy concert reel. You can check out other great clips from this morning sequence (as well as many of the beautiful concert shots) in the full trailer for the doc below.<\/p>\n\n\n\n

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