Okay, okay, hot take alert! Recently, there\u2019s been a bit of discussion on Twitter <\/a>debating whether Greig Fraser<\/a>\u2019s cinematography now deserves to be in the same breath as Roger Deakins<\/a>. <\/p>\n\n\n\n And, before anyone comes in with any outrage, keep in mind that while this is, of course, just an objective discussion, no one actually suggests that Fraser has surpassed Deakins legacy.<\/p>\n\n\n\n Now, with that huge caveat being said, we can at least entertain the notion that Greig Fraser<\/a>, fresh off the universal acclaim for his cinematography work on Dune: Part One<\/a><\/em>, Rogue One: A Star Wars Story<\/a><\/em>, and The Batman<\/a><\/em>, has become one of the most in-demand directors of photography in the business.<\/p>\n\n\n\n This certainly puts him in the conversation, along with names like Roger Deakins<\/a>, Emmanuel Lubezki<\/a>, Reed Morano<\/a>, and Matthew Libatique<\/a>, when DPs are discussed by the producers of the biggest films of our day.<\/p>\n\n\n\n But, for all of us aspiring filmmakers and cinematographers, how do we feel about Greig Fraser\u2019s ascent and how his work stacks up to the masters?<\/p>\n\n\n\n And, even more importantly, what can we learn and take inspiration from Fraser\u2019s new cinematography<\/a> styles and trends?<\/p>\n\n\n\n
\n\n\n\nWho Is Greig Fraser?<\/h3>\n\n\n\n