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Janusz Kamiński Cinematography Style — a breakdown of the Kaminski style, including his approach to lighting, color, and equipment.

Janusz Kamiński Movies Ranked ►►
Spielberg's Directing Style ►►
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Special thanks to:
Berlinale - Berlin International Film Festival ►►
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Chapters:
00:00 - Introduction to Janusz Kamiński Cinematography
01:07 - Janusz Kamiński's Background and Style
03:03 - Chapter 1: Lighting
07:36 - Chapter 2: Color
13:03 - Chapter 3: Equipment
17:53 - Final Thoughts

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JANUSZ KAMIŃSKI CINEMATOGRAPHY TECHNIQUES

Cinematographer Janusz Kamiński is one of the best DPs working today. While he’s mostly known through his decades of collaboration with Steven Spielberg, he’s also done stellar work with directors like Camerone Crowe, James L. Brooks, Julian Schnabel, and Judd Apatow. In this video, we’re going to take a look at Kamiński’s style with a focus on his use of lighting, color, and gear to enhance his visual storytelling.

JANUSZ KAMIŃSKI STYLE — LIGHTING

Kamiński has a distinctive style when it comes to lighting. In particular, he loves to use backlighting to create high contrast imagery for a darker atmosphere. One example we can point to is how he lit The Lost World compared to how Dean Cundey shot Jurassic Park. The first film often kept the dinosaurs fully lit while Kamiński’s sequel opted to keep them more shadowed and more terrifying.

JANUSZ KAMIŃSKI STYLE — COLOR

Color is another element in Kamiński’s style that guides the mood of a particular scene or film. The lack of color in Schindler’s List doesn’t just emulate B&W WWII footage, it keeps us grounded in the horrors of the Holocaust. For Minority Report, Kamiński found a balance between a look that was futuristic yet familiar and “very gritty and full of gray.” In Munich, different color palettes were used to separate distinct locations.

JANUSZ KAMIŃSKI STYLE — EQUIPMENT

Cameras and lenses used also contribute to Kamiński’s style. As he explains, different stories from different eras require different considerations when it comes to gear. For Saving Private Ryan, modern lenses were stripped of their protective coatings to avoid an anachronistic look. For Kingdom of the Crystal Skull, anamorphic lenses and soft filters helped imbue the film with a nostalgic, classical Hollywood patina.

Looking at the last few decades of Janusz Kamiński cinematography, it’s no wonder a filmmaker like Spielberg has stuck with him. His range is extensive and his ability to find the visual language for a particular story is unrivaled.


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♬ SONGS USED:

"Cyberpunk Sunrise" - Evgeny Bardyuzha
"Dojo Tradition (Instrumental)" - In This World
"All Star" - ANBR
"Morning Sunbeams" - Yehezkel Raz
"British News Team" - Lance Conrad
"The Lost World" - John Williams
"The Trek" - John Williams
"Rescuing Sarah" - John Williams
"The Raptors Appear" - John Williams
"Scanning the Papers" - John Williams
"Crossing the Atlantic" - John Williams
"A Battle in the East" - Rhythm Scott
"Clockwork" - Borden Lulu
"Stolen Memories" - John Williams
"I Have a Plan" - Borrtex
"In Love with Emi" - Fabien Fustinoni
"Anderton's Great Escape" - John Williams
"Sean and Lara" - John Williams
"Munich, 1972" - John Williams
"The People's House" - John Williams
"O Come Let Us Adore Him (Instrumental)" - Salt of the Sound
"Hymn To The Fallen" - John Williams
"Omaha Beach" - John Williams
"Finale" - John Williams
"Nevada, 1957" - John Williams
"Theme For The Diving Bell And The Butterfly (Soundtrack)" - Paul Cantelon
"Homecoming" - Thomas Newman
"The Fabelmans" - John Williams
"State Lines (Instrumental)" - Aaron Kellim

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