Matthew Chuang ACS

THE FOX Official Selection @sxsw . Congrats @thefakedario @causeway_films and the entire cast and crew. 🦊

@jimpa_film now showing in cinemas! @sophhyde @madonesfilms @kismetmovies

As we leave The Netherlands after a wonder filled Dutch premiere sharing some moments from our shoot via the 📷 of cinematographer @mattscope Thank you to our cast and crew and the team at @cineart_nl and @iffr for hosting us

Cinematographer Matthew Chuang, ACS (@mattscope ) sharing a #R3Dsnapshot for @appletv 'Chief of War.' "The moment that stands out most from the final episode is when Ka’iana (Jason Momoa (@prideofgypsies ) climbs the lava rock to face Keōua (Cliff Curtis)—the culmination of the season’s tension and the final battle. The sequence was scripted to unfold from day to dusk to night, and on this particular section, our crew call was 3 AM. We began filming in the dark, aiming to capture that first glimmer of sky just before sunrise. The scene takes place on a real lava field, atop an existing mound split by large natural cracks. It took two weeks for lighting and electrics to rig the lighting into those cracks, a painstaking setup made more difficult by the remote, uneven terrain. We augmented our lava light with flame bars, backlit atmosphere, and falling ash. The shot was executed with a gimbal, with Jason Robbins physically moving the rig while Jason Ellson operated the frame remotely. We used a RED V-RAPTOR paired with modified Panavision T-series anamorphics; I believe this shot was on the 50mm. It was one of the most physically demanding setups of the season, but the result captures a moment of raw intensity and visual beauty we’d been building toward all along."

#DOP Matthew Chuang ACS (@mattscope ) takes us #behindthescenes of Chief of War, detailing his experience working with directors @Justinchon , @brianandrewmendoza , and @prideofgypsies . “Chief of War is the first time a Hawaiian historical epic has been told on this scale. We wanted to do justice to the Hawaiian culture and their connection to the land and sea. Naturalistic mysticism. [Our visual references included] the numerous works of Andrei Tarkovsky, Terence Malick’s Days of Heaven, shot by Néstor Almendros and Haskell Wexler ASC, The New World, shot by Emmanuel “Chivo” Lubezki ASC AMC, Apocalypto, shot by Dean Semler AM ACS ASC, and many of the films of John Toll ASC. Anamorphic was always our first instinct and Panavision came to our minds first. [Marketing Exec] Mike Carter has always looked out for me on past productions—I knew he would look after us on this series. The C Series anamorphic [lenses] were always a favourite of mine but Mike Carter suggested I have a look at modified T Series full frame anamorphics. [SVP of Optical Engineering] Dan Sasaki built us a custom, full frame, anamorphic look for our show which allowed us more freedom to move the camera with longer focal lengths, like the 100mm on steadicam. Additionally, we would have the same modified set over all our various units. The scope and the resources required for a series of this size was definitely large in scale, yet director Justin Chon and I still operated with the same indie sensibility and energy we had on Blue Bayou. This carried on with directors Brian Mendoza and Jason Momoa, who brought in their own unique touches. Cinema has always been a way to experience cultures and people from around the world, and in different lifetimes. Director Justin Chon would always push that our films have a responsibility to bring empathy to our communities. With ‘Chief of War,’ through our writers, cultural advisers, and the whole team involved, we felt that responsibility to the people of Hawaii.” Chief of War was shot with Panavision #TSeries anamorphic lenses and proudly serviced by #Panavision Woodland Hills. 📸 BTS photo credit: Nicola Dove / Courtesy of Apple

‘JIMPA’ Olivia Colman @jalithgow @audmasonhyde . Directed by @sophhyde . Sundance 2025. Coming soon

‘Chief of War’ Episode 9. The sun went away and Director @prideofgypsies yells ‘Let’s do the oner right now’. All the stunt players ran over to get into position, we grabbed the @reddigitalcinema Raptor setup with the @atlaslensco Mercury 36mm. We got this entire shot within 15 mins, from setup to execution. Then we moved onto the next setup. That’s how fast this crew were moving. The stunt team were all on point. Shot operated by @anthonyrinna . Stunt Coordinator Jon Valera. All episodes on @appletv

‘Chief of War’ Part 4. Aotearoa. Shot on Leica Q2 Monochrome @leica_camera_aus

‘Chief of War’ Part 3. Aotearoa. Shot on Leica Q2 Monochrome @leica_camera_aus

‘Chief of War’ Part 2. Hawaii. Shot on Leica Q2 Monochrome @leica_camera_aus

‘Chief of War’ Part 1. Hawaii. Shot on Leica Q2 Monochrome @leica_camera_aus

Born in Taiwan and raised in Australia, cinematographer Matthew Chuang ACS has always been drawn to telling stories rooted in culture and identity. After reaching a creative ceiling in Australia, he made the leap to Los Angeles where he connected with director Justin Chon. The two have since collaborated on multiple projects, most recently reuniting for Apple TV’s epic series Chief of War. In this conversation, Matt reflects on his upbringing in Australia, his journey into the world of independent filmmaking in the United States, and his first experience working on a large scale television production. He shares how he and Justin brought an indie film sensibility to Chief of War, emphasizing the importance of trusting your instincts when approaching coverage and storytelling. We also dive into the technical side, discussing cameras, lenses, lighting setups, and the unique challenges of shooting in remote locations across the Hawaiian Islands. Tune in to hear Matthew’s story, his creative approach behind the camera, and insights from the set of one of Apple TV’s most ambitious series. This episode of Cinemapodgrapher is proudly brought to you by our technology partners Sony Produced by @deborahvandieren Hosted by @lucastomoana_operator Edited by @_raphaelsegal #chiefofwar #panavision #cinematography #cinematographer #filmmakers #filmmaking #behindthescenes