Stop motion cinematography is more than just camera placement — it’s about sculpting emotion with light, texture, and patience.
Cinematographers often use macro lenses, fiber optics, and miniature rigs to simulate natural movement in impossible scales.
Veteran DOP Sara López, known for her work on Ashes of Clay, explains: “Every inch of light is intentional. When a puppet breathes, the lighting must breathe too.”
The results are cinematic worlds that feel larger than life — even when they fit on a tabletop.