Which cameras and lenses did you use and why?
After extensive glass testing—including anamorphic, large format, and Super 35mm lenses—I chose the Moviecam Primes, a vintage lens set from the 1980s, provided by ARRI Rental UK. I was drawn to its gentle rendition of skin tones and its softness while retaining plenty of detail, its beautiful bokeh, and smooth focus fall-off.
We avoided optical aberrations or anything that might distract the audience from Joan’s journey and emotions. While vintage, the lenses needed to offer solid technical performance without being overly characteristic.
For the camera, I selected the Alexa Mini LF for its large-format sensor and overall image rendition, particularly its smooth highlight roll-off and naturalistic skin tones. Since most of the show takes place in interiors, the larger sensor (and its naturally shallower depth of field) was an obvious choice to help separate the actors from the sets.
I relied heavily on the beautiful 40mm, 50mm, and 65mm Moviecam Primes to shoot the emotionally charged scenes. Usually shooting handheld to bring organic authenticity, we wanted the camera to be always close to Joan.
Which lighting equipment did you use and why?
Besides the classical package of HMIs and tungsten lamps and modern LED fixtures such as Vortex and SkyPanel, my go-to tool was the CRLS system. Gaffer Yurandi Poots and I are strong advocates of reflective lighting, both for its superior quality and its natural aesthetic look. It also allows us to overcome the inverse-square law, which is particularly useful in smaller locations.
After experimenting with different small fixtures, we conceived how to light our leading actress, always emphasizing her eyes, where all the emotions and struggles were happening.
What was the biggest challenge and how did you overcome it?
The biggest challenge was balancing the complex reality of 1980s England with the temptation to lean into a purely ‘80s aesthetic. The decade wasn’t just bold colors and pop music—it was also marked by economic struggles, political unrest, cold war. Against this backdrop, we were also telling the story of Joan Hannington—a woman divided between two worlds: the glamorous, exciting life of a jewel thief and the challenging, emotional journey of a single mother trying to recover her daughter from care.
To capture this, I collaborated with Jat Patel, colourist at Harbor Picture Co. Using hair and makeup test footage, We explored different options until setting at the look we wanted: soft contrast, lifted blacks, and muted colours. Having an early 90s Fuji film stock as the base, we could finally find Joan’s filmic look.
Ultimately, it became about restraint—using cinematography not to impose a style but to let the duality of Joan’s world speak for itself. Finding that balance between authenticity and cinematic storytelling was the most rewarding part of the process.
What was the biggest learning curve?
This was my first drama in the UK, which meant stepping into a new production environment with different working structures, cultural nuances, and an unfamiliar crew. Every set comes with its own rhythm, and adapting quickly was key—not just in terms of workflow but in building trust and creating a shared visual language with the team.
One of the most exciting aspects of the experience was the cultural exchange that unfolded on set. Collaborating with a new crew brought fresh perspectives and solutions. Clear communication was essential, and I found that leaning into solid visual references, pre-lighting discussions, and hands-on collaboration helped bridge any initial gaps.
Ultimately, it reinforced something I’ve always believed: that cinematography is a universal language, and when you approach it with openness and clarity, the exchange of ideas leads to even stronger creative results.
Which scene or sequence are you most proud of and why?
The opening shot of Episode 1 is the sequence I’m most proud of. Interestingly, it’s actually a flashback from Episode 3, when Joan is already at the peak of her mastery as a diamond thief.
This shot was a challenge on many levels. It had to establish the look and tone of the show while immediately immersing the audience in 1980s London. Joan is in a glamorous, posh environment, yet she doesn’t truly belong there. Her scars—revealed as the camera moves in—hint at a rough past, creating a stark contrast between opulence and hardship. At the same time, she’s charming, confident, and in full control, embodying her ability to disguise, impersonate, and seamlessly switch between identities. The scene is full of details that deepen the intrigue—cash, diamond rings, and an air of deception.
To engage the audience and establish all this information visually, the director and I envisioned a long tracking shot. It starts very wide, revealing the opulence of a five-star presidential hotel suite, as Brass in Pocket by The Pretenders plays in the background. The camera then slowly moves in on Joan’s back, drawing attention to her scars—silent witnesses to her past abuse. The contrast is immediate: who is she really?
The shot continues as we cut to a reverse angle, into the mirror’s POV. Now, the audience sees Joan applying makeup, putting on a wig—transforming into her next identity. The puzzle grows deeper.
Achieving the desired look required stitching together three different locations to create the illusion of a high-end 1980s London hotel:
- The interior was shot in a mansion in Solihull, completely transformed by the production design team.
- The hotel reception was filmed at Walsall Town Hall.
- The exterior was captured at an actual hotel in Birmingham.
For the signature tracking shot, we used a Scorpio 23’ crane with a stabilized head, operated by Andrei Austin (camera operator) and Neil Blakesley (key grip). The room was lit entirely through the windows with large HMIs, creating the perfect naturalistic, cinematic glow.
This sequence embodies the show’s essence—a world of contradictions, deception, and hidden truths—and set the visual language for everything that followed.
How did your work on the production inform how you will approach your next project?
Every production brings new insights. Working on a period drama with a layered, complex protagonist reinforced the importance of subtlety in visual storytelling—how every lighting choice, framing decision, and camera movement shapes the audience’s perception of a character and their world. That’s why I was so honored to collaborate with director Richard Laxton on this project. He is an incredible source of inspiration—open, receptive, and deeply engaged in the creative process. As a DoP, that kind of collaboration is invaluable. It pushes me to think my decisions through, challenge myself, and refine my work even further.
One of the biggest takeaways was the balance between authenticity and cinematic interpretation. The temptation with a period piece is to lean into heavy stylization, but this project allowed cinematography to do something far more powerful—not impose a look but enhance the emotional truth of the story. That’s something I’ll carry forward into future work.
I continue to believe that every project is an opportunity to push boundaries, adapt, and evolve—and that’s what makes this craft so exciting.
