My Favorite Cinematography / Editing

Cinematographer : not listed
Editor : not listed
Director : Hong Jong Chan

Vibes :
• balanced between dark/sinister with whimsical/airy, like a creepy fairytale
• captured the horror and paranoia of being stalked really well
• gorgeous way of depicting their shared emotions (playing with colors for different emotions and editing it to feel like looking through a out-of-focus lens almost?)
• shallow depth of field (aligns with the central theme of emotions) - everything feels more intimate and vulnerable
• areal drone shots used to show the maze of streets within the neighborhood (this made the chase scenes feel more hopeless and like there was no escape)
• camera work contributed to the already amazing acting (lots of close-up shots tracking where the actors are looking or noticing things, etc.)

Cinematographers : Jim Picharn Wimolchaiyaporn + Sun Rungsi Sarnkingthong
Editor : not listed

Vibes :
• soft & dreamy & personal
• longer takes highlight the patient storytelling and allows us to sit with actors longer in the emotions
• plays with depth of field
• anamorphic lens
• may be my favorite cinematography in an NC scene - while it may be simple compared to other dramas, to me, it felt authentic, patient, and natural.

Cinematographer : not listed
Editor : not listed
Director : Hwang Da Seul

Vibes :
• feel very “indie film” like (nothing overly artistic, but still shot with expert intentionality)
• static shots (longer takes with only 1 or 2 camera angles — this really allowed the actors to deliver the incredible script in such a way the audience is forced to sit in the emotions with the characters longer)
• interwoven flashbacks to show when the characters have the memories resurface in their everyday lives

To be honest, I didn’t include this one for specifically the camera work. It wasn’t anything special, necessarily. I’m including this one because of how the cinematography perfectly balanced the complexity of the characters and expertly worded dialogue. This has to be one of the most realistic Bl’s I’ve ever seen. To overshadow the dialogue with fanciful camera work or over-editing would be a disservice to the script. And for that reason, I believe it was just restrained enough to provide the foundation for incredible portrayals of real people as they navigate a complex life.

Cinematographers : Rath Roongrueangtantisook
Editor : Rungroj Prachyakun

Vibes :
• intimate with shallow depth of field
• incredible depiction of Day's blindness (I'm assuming the type of camera paired with post-production editing?)
• close-up shots to show Day's senses + physical awareness
• use of colored & soft lighting
• THE FISH TANK

Cinematographer : Ruengwit Ramasoota
Editor : Rungroj Prachyakun

Vibes :
• incredible use of natural lighting (almost like the sun is another cast member)
• well-placed intimate & dreamy shots with shallow depth of field
• understated but cinematic
• highlights the acting well without being distracting [examples : static or long shots during high emotion scenes // light peaking from behind + slow motion shots to show a change in perspective in the other character // close-up, soft and 'fuzzy' shots during emotionally vulnerable scenes]

Cinematographer : Natthaphak Khanachotchaiyapong
Editors : Atikarn Jantanasukon + Punn Suttikan Prommaboon

Vibes :
• contrasting elements of horror & vibrant
• playful use of lighting
• dreamy but also gritty? (hard to explain but it works really well for this story/type of show)
• quick, fast-paced editing in exciting scenes
• static, close-up shots during emotionally intimate moments

Cinematographer : Beat Pramett Chankrasse + Singha Quansuwan + Chao Chavalit Sangpitak
Editor : Pangpond Pitchayut Promsuwan

Vibes :
• gritty & on-the-ground
• different camera movements contribute to the mood or plot
• lots of close-up shots that felt very 'in your face' and intrusive, which was 100% intentional. Paired with the script and incredible acting, we, the viewers, are supposed to feel uncomfortable and on-edge like the characters

Cinematographer : not listed
Editor : not listed
Director : Kim Byung Soo

Vibes :
• creative filtering for visions when using his powers (and becomes clearer as his power strengthens)
• use of different colored lighting in different scenes
• high-speed camera (slow-motion) shots paired with incredible acting works really well here
• movement of camera successfully depicts the unreliability of each character's memories

Cinematographer : Natthaphak Khanachotchaiyapong
Editors : Ae Masarat Panitinantapat + Sola Chaipat Eamraksa + Boy Mitpracha Outtaros

Vibes :
• vibrant & playful
• wide-angle shots
• cinematic but also intimate
• different aspect ratio for flashbacks

Cinematographer : Rath Roongrueangtantisook + Pongthorn Thongwattana
Editor : not listed

Vibes :
• vibrant & lively
• playful with lighting (especially warm & cool tones together)
• shallow depth of field + close-up shots during moments of intimate conversations and vulnerability while still maintaining the drama's vibrance

Cinematographer : Woodie Pongchaiphat Sethanand
Editor : not listed

Vibes :
• gritty & suspense-filled
• wide-angle & cinematic shots often highlighting the set or locations
• visual effects worked in tandem with the lighting and shadow usage - it all felt well thought out and planned

Cinematographer : Pongthorn Thongwattana + Shake Wongbavorn Onwimon
Editor : Benz Baragrom Sawangthaitawat

Vibes :
• cinematic & wide shots
• warm (not necessarily in color-grading, but in feeling)
• plays with lots of natural lighting

Cinematographer : not listed
Editor : not listed
Director : Sakai Mai

Vibes :
• dreamy and intimate editing
• playful usage of filtering light through different things like a crack in the door or through multi-colored sheer fabric
• worked in tandem with the acting (longer shots during high-emotions scenes, or close-up shots to highlight eye-acting)