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Chris Watkins’ Philosophy: “Heighten What Already Exists”
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20/05/2026
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The Reel Factory DoP breaks down his style and technical craft, as part of LBB’s Viewmasters series
In this interview series spotlighting directors of photography and cinematographers, we explore their artistic philosophies, technical approaches to light and shadow, and essential creative relationships with the director.
With 14 years of experience in the film industry, Chris Watkins is a seasoned director of photography known for his creativity, technical expertise, and problem-solving abilities.
Beginning his career in the lighting department, Chris honed his craft and gradually transitioned to working with the camera, where his true passion for storytelling through visuals took shape.
Throughout his career, Chris has built a reputation as a solutions-driven professional with an eye for innovation. His personable approach and collaborative spirit make him an ideal partner for any project, while his realism ensures that every production stays grounded in what’s achievable.
Chris is committed to pushing the boundaries of what’s possible with ever-evolving technology in the film industry, always striving to deliver fresh, impactful visual experiences on screen.
Whether it’s capturing breathtaking cinematography or finding creative solutions to complex challenges, Chris approaches every project with dedication, passion, and a relentless pursuit of excellence.
LBB> Reflecting on your career path, what was the specific project, mentorship, or moment on a set that made you realise that cinematography was your calling and permanently shaped your approach to the craft?
Chris> I wouldn’t say I ever had one big ah-ha moment, it’s more a feeling that was built over time through the projects, people and experiences along the way. I’ve been fortunate enough to have travelled Aotearoa/New Zealand several times, shooting for Tourism New Zealand and Air New Zealand, and those experiences have had a huge impact on both my work and perspective on life in general. Being on the road, showcasing my home to the world, reminds me why I love what I do and continues to shape how I see light, landscape and story.
What’s kept me hooked is the fact you will never really master the craft. The industry and technology are always evolving, so you’re constantly learning, adapting and challenging yourself, which is what keeps it exciting.
LBB> How did you hone your craft as a cinematographer?
Chris> I studied at South Seas Film School and was immediately drawn to lighting. I cut my teeth as an LX Assist before moving into the camera department and I honestly can’t stress enough how valuable it is to the learn the art of lighting early on.
Working alongside a range of DOPs not only gave me insight into different approaches to framing and storytelling, but also taught me how to operate under pressure, collaborate with different departments, and understand the kind of environment I want to create on set. It also helped shape my speed and efficiency as a cinematographer.
Our setup at Reel Factory allows our camera team and me to constantly test and experiment with some incredible pieces of kit – particularly the Bolt Motion Control Robot and, more recently, the Volume Wall. I believe spending so much time hands-on with these tools has allowed me to really hone my craft and push the limits of what we can shoot.
LBB> If your cinematic output could be distilled into a single, guiding visual philosophy, what would that philosophy be, and how does it translate into your approach to lighting a scene?
Chris> My philosophy is to heighten what already exists. I start by studying the natural light in a space, its direction, quality, and how it shapes the frame, then build from there. It’s about working with the environment, not against it. Gently elevating the light so the image feels cinematic and authentic.
LBB> The relationship between the director and the DP is central to filmmaking. How do you approach the initial phase of collaboration with a new director to build a shared visual language, and what is the single most important element of that partnership?
Chris> Most projects start with a director’s treatment, which is important to see how the director envisions the entire project from casting to cinematography to grade, and plays an integral role in shaping the visual style. From there, it’s all about building a shared visual language — defining the tone, finding references, and exploring how the camera and lighting will support the story.
Of all the directors I work with, no one’s relationship is the same. Each director has different needs, film backgrounds and preferred ways of working, so it’s all about figuring out the best way to communicate and support them.
LBB> Light is central to the craft. Can you share a specific project in which the lighting design was a primary tool for telling a story or communicating the character’s emotions? Was this achieved through natural light, technical rigging, or simply contrast? What’s your preferred way to approach lighting?
Chris> I recently shot a brand campaign for Lightingplus where we captured three completely different genres of film in one day. These were all big set builds with an extremely technical set-up, shot on our Volume Wall with a Technocrane. My lighting plan needed to be quick, flexible and easy to reshape as we had around 30 minutes to strike each set.
I worked closely with the Director and Gaffer to design a lighting plan that worked across all three scenarios. Utilising RGB LED lights meant we could quickly shift the colour, contrast and mood, and tie them directly to the imagery on the Volume Wall.
LBB> Lens, framing, and aspect ratios are fundamental choices in cinematography. How do you determine the feel you want the audience to experience, and how does that decision lead you to select a specific camera format, lens, or framing technique?
Chris> It always comes back to what you’re trying to make the audience feel. The format, lens and framing come out of that. You also need to be on board with where the film is being viewed — you can’t fight a 9:16, you need to work with the director to find the best possible solution for all required aspect ratios. Which unfortunately often means anamorphic lenses is out of the question.
For example, a burger commercial with talent enjoying food where I want the audience to be salivating, I’d lean towards an 8K full-frame sensor with wider lenses, shooting close to the subject. It creates an immersive feeling and keeps the food dominant in frame. This approach also gives you the flexibility to capture multiple aspect ratios from a single take.
It’s less about fixed rules and more about choosing the right tools to support the feeling you’re trying to create.
LBB> Beyond light, how do you intentionally use colour palette, grain, or visual texture to communicate genre, theme, or character background in a story?
Chris> Colour palette is key, matching the set design, costume and lighting to create the theme the director is building their film around. I generally shoot on a digital sensor, as there is so much flexibility in post-production these days to build the aesthetic you are looking to create, including adding film grain.
LBB> What is the most technically complex or unexpected visual problem you have had to solve on set, and what was your creative, on-the-fly solution?
Chris> I have been lucky enough to film a lot of travel and tourism campaigns, which often means working with small crews, minimal gear and unpredictable environments, whether that’s on a boat, in a helicopter or dangling off the side of a mountain.
A lot of the time, you can’t recce locations beforehand either, so you have to think quickly and adapt to whatever conditions come your way. My go-to, on-the-fly solution is to always have a little handheld battery light. If the weather turns or the sun disappears, I’ll use it to flare the lens, bringing warmth and texture back into the frame.
LBB> Generally, what are your working relationships like with a project’s colourist or colour grading team, and how do you ensure the visual intentions you set on set are protected and successfully translated through the final stages of post-production?
Chris> We’re in a unique position at Reel Factory, where we have a full-time crew of 15 across production, camera and post-production, and we work together every day. Our colourist, Marc McCarthy, and I have built a strong creative shorthand over more than a decade working together.
Once I’ve sat down with the director and we’ve figured out our visual style and tone, we’ll work with Marc ahead of the shoot to build LUTs for us to use on set. We’ll also carry out test grades ahead of the shoot, which means Marc is involved in the project from much earlier on than a freelance Colourist might be.
LBB> For emerging DPs, the amount of available gear and software can be overwhelming. If you could distil your knowledge into one piece of advice, technical or artistic, about true visual craft, what would it be?
Chris> My biggest advice would have to be to study the sun. Light, shape, and how it reacts off various surfaces. Learn shadows, shapes, and reflections. Cameras are secondary, especially with the speed that technology is changing, light is the most important craft to nail.
And lastly — just get out there. Shoot as much as you can. The best way to learn is by figuring out the limitations of cameras, lenses and specific lights. Don’t be afraid to make mistakes, that’s how you learn!
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