Chicago Fire cinematographer Lisa Wiegand talks to American Cinematographer about three seasons of shooting the drama.
She explains, “Part of our approach on Chicago Fire is that the camera should feel like another firefighter arriving at the scene — that’s written into the script. The specific machine that we’ve built to make the show works most quickly and most efficiently in a certain style. A lot is handheld, but we do some dolly work and a lot of crane work. We don’t normally carry a Steadicam or a jib arm.”
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