Chloe Weaver

Hot Honey for the win. @photografahy , @levon_levoff , @andrewpauling

Being a Mom is such a treat.

I highly recommend making things with @wuzgood . He’s the master of mixing ambitious creative with fun. Add @tomash_vfx , @jamietubbs and my regulars: @andrewpauling , @levon_levoff , @swtorch , @stogeejr & @therealalexcason - it’s a good time! Killer bts by @beastwilliams_ #camerasbycamtec

In this Clubhouse Conversations episode, cinematographers DJ Stipson, NZCS and Chloe Weaver @chloeweaverdp are joined by interviewer Patti Lee, ASC @pattiplumtree to discuss their work on The Paper, a mockumentary-style continuation of The Office from co-creators Greg Daniels and Michael Koman. The conversation focuses on updating the franchise’s visual language through a fully walkable, glass-wrapped newsroom lit for 360-degree coverage, period sequences captured on Super 16 with matching digital LUTs, operator-driven comedy, lens choices that nod to the original series, and the logistical challenges of large ensemble scenes and a hotel-set finale. #ClubhouseConversations #ThePaper #Cinematography #ASC #NZCS TelevisionCinematography Mockumentary TheOffice

I’m not ashamed to say, I love Taco Bell and I’ve eaten it on the hood of a car countless times. This job really had my number. Thanks to Director @davidwma for his vision and his distinct talent for dropping battered chicken and achieving the perfect bounce. Thank you @chromista.tv for your support and thank you to my crew of perfect humans that make the work so fun. 1st AD: @the_set_whisperer 1st AC: @andrewpauling 2nd AC: Jon-Michael Acra DIT: Lee DeArakal Gaffer: @swtorch Key Grip: @levon_levoff

Finley (5) & Liam (2)

Peacock's THE PAPER, the side-splitting new comedy from the universe of THE OFFICE, made a major splash upon its premiere, debuting in the Top 10 most streamed series' on the platform. We caught up with DP Chloe Weaver [@chloeweaverdp ] (episodes 4-10) to discuss the journey of bringing THE PAPER to life, from reinventing the iconic mockumentary style of THE OFFICE, to working closely with an all-star cast and crew. 🗞️🧻 "To keep the camerawork feeling true, we gave ourselves some rules and limitations. We decided the doc camera team didn’t have infinite resources — they only had two camera operators, and thus, the scenes would only be captured from two angles. We wanted the compositions to feel realistic and not be too privileged or convenient. On our set, we ended up shooting at 1600 ISO nearly the entire time, which was a pretty special feature of the Sony VENICE 2 to utilize without consequence... During prep for episode 7, we took an extended hiatus so the writers' room could get ahead on some scripts. During that downtime, there were multiple voices from the team who had worked on The Office that wondered why we didn’t have the same zoom ranges as they did while making that show. In an effort to modernize this series, the beautiful full-frame lenses had been selected, but one thing they didn’t offer was a long range. Over the course of that hiatus week, we opened up the lens idea... Maybe we could employ a different lens that could give us greater flexibility without a lens change. We tested everything Keslow had in-house and ended up finding the Canon 17–120mm Servo Zoom — and the second we threw that on and tested it in the conference room set, Greg Daniels, [series co-creator and showrunner] said, 'That’s the one!'" - DP Chloe Weaver Our gratitude to DP Chloe Weaver for taking the time to discuss the series! Visit the link in our bio to read the full interview! Thank you to Chloe Weaver for the BTS snaps! 📸 DPs | DJ Stipsen, NZCS & Chloe Weaver (@chloeweaverdp ) Serviced By | #KeslowCameraLA

This is what you want in a commercial. More please @quinnk 🤘 @artclasscontent / @smartypants

so thrilled for my girl chlo, watch the paper

The Paper is out! This show was a beautiful opportunity for me to do work on a larger scale than I had before. I’m so lucky to have collaborated with the great DP DJ Stipsen NZCS, who started the show and designed an incredible aesthetic palette to play in. Thank you to the lighting, grip and camera teams who welcomed me into the family with open arms. I have grown from this experience with you all exponentially. Working for legends like Greg Daniels and @michael.koman makes you strive for greatness with each choice you make. The chance to take this iconic IP and make it our own was a fantastic journey. There are many more important people to note, like the UNBELIEVABLE cast, writers, directors, AD’s, production design and art team, all of editorial, wardrobe and make up, etc. They are (nearly) all here in this picture and they are all perfect. A Op: Phil Mastrella @thecameramanphil A 1st: Tony Martin A 1st: Brandon Margulies @beeleemarg A 2nd: Chris Garland A 2nd: Estefania Garcia B Op: Mande Whitaker @mmmande B 1st: Andrew Pauling @andrewpauling B 2nd: Rikki Jones Loader: Mike Rush DIT: Chris Hosey @chrishosey_600 My essential scouting DP @alangwiz (Thank you to all the talented day players and friends who came in and contributed as well- there were many!) Set Stills: John Fleenor @johnpfleenor Lighting led by Paul Hazard @phaz69 Grip led by Bodie Hyman Shot on the Sony Venice 2 with Premista Zooms + Canon Cine Zooms from @keslowcamera

Shaq is funny. Directed by @miroamirez

Eggs are the hot topic of 2025. Good thing all the hottest folks teamed up to make this one: Director: @davidwma Dp @chloeweaverdp Gaffer: @swtorch BBE: Mike Withers Electric: Ash Bhasin Key Grip: Bodie Hyman BBG: James Viera Grip: Kyle Hudnall 1st AC: Paulina Bryant 2nd AC: Bianca Brennan DIT @andrewpauling Food Stylist: Max Rappaport Producer and co-director: @dustin cook of Sabertooth Pictures And, of course, Queen Liza Colón-Zayas. #thebear