Year 2017
Decade – 2010s
Cinematographers – Paul Cameron (pilot); David Franco; Jeffrey Jur; Robert McLachlan; Brendan Galvin
Director – multiple
Aspect Ratio – 1.78
Distributor – HBO
Genre  Western; Sci-Fi
Camera – Arricam LiteArriflex 435
Lenses – Cooke S4Canon K35; Fujinon Premiere zooms; spherical
(Most of the show was shot on the Cookes. The K35’s were used for flashbacks/dream sequences.)
Format 35mm; 3-perf Super 35
Film StocksKodak Vision3 (5219 500T; 5207 250D; 5203 50D)
(5219 500T for night interiors/exteriors, 5207 250D for some dusk scenes, and 5203 50D for daylight interiors/exteriors.)
Other Key Words Wide Shots; High and Low Angles; Composition; Two-Shots; Close-Ups; Shot/Reverse Shot; Bokeh

Further ReadingAmerican Cinematographer Magazine article; Paul Cameron interviews from Filmmaker Magazine and Studio Daily

“This is a story about how people behave when no one is keeping score and there are no apparent consequences.” – Westworld writer/director/producer Jonathan Nolan, from Wired

Single Frames

Groups of Frames


Shot/Reverse Shot


Paul Cameron on shooting close-ups with Cooke S4’s…

“Cooke S4s are the most elegant lenses to photograph faces with. They render the subtleties of shape and color, in particular, really wonderfully. There is a slight softness and beauty to Cooke lenses that is unsurpassed.” – from American Cinematographer Magazine


High and Low Angles

Wide Shots – Exteriors

Wide Shots – Interiors



Paul Cameron on how film crews are like Westworld’s robot hosts…

“Part of the pilot is that it does have this repetitive nature. The day starts and the train arrives. The characters walk down the same street and say the same thing to the same person every morning. The same kid runs across the street. The piano starts to play. There’s a cadence to the park — the monotony of it mixed with the unpredictability of it all — and then by the end of the day half the hosts have been shot up and need to get washed down, the lead pulled out, and get re-programmed to be put back into work the next day. It’s kind of like a film crew. (laughs)” – from Filmmaker Magazine

Paul Cameron on his preferred diffusion…

“I have three types that I carry with me: Hampshire Frost, Opal and bed sheet. That’s it. There’s no need for anything else. I don’t use grid, I don’t use 216, or whatever, just, really, Opal and bed sheet. I got the bed sheet idea from working with Tony Scott — he loved it. You can travel anywhere in the world and if you need diffusion, just pull the sheet off your hotel bed and bring it to work. I love it. I like bed sheet at the edge of the frame —  it has a very soft quality, lighter than muslin, but inexpensive and really easy.” – from American Cinematographer Magazine

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