How Director of Photography Yunfan Xu Used Historic Films To Inspire His Look

Filmmaking has always lived at the cutting edge of technology, using innovations to push visual storytelling to new levels. Looking back through the cinematic eras gives filmmakers the ability to reflect upon styles incorporating them into their own aesthetic. Director of Photography (DP), Yunfan Xu is a cinematographer shaped by the those who came before him

Xu pays homage to his predecessors stylistically, while using the latest technology to keep his films quality at the highest level. Already highly rewarded, his work can be seen on major streaming platforms such as Amazon Prime and Disney India. As the DP of Wallpaper, currently on Disney India, he helped to create a vivid world through a variety of shooting techniques. However his biggest success to date, Slobopoly, has won multiple awards from Best Comedy at the Mentone Film festival and Melbourne International Film festival, to Best Short Script at the Austin International Screenplay Awards. Xu took time out of his busy schedule to sit down and discuss with us some of the exciting technology that is changing the filmmaking industry.

Technically, what cameras are shaping the film industry right now? 

Yunfan Xu: Right now the film industry is being shaped by a mix of cutting-edge digital technology and a renewed appreciation for traditional film. Looking at the digital side the ARRI Alexa 35 has made a huge impact. With new sensors offering an incredibly dynamic range with rich color reproduction and a more filmic look compared to previous digital cameras, it has quickly become an industry favorite. Used in high end productions, the camera blends the best of digital precision with the organic feel of film.

Can you speak on the resurgence of traditional film?

Currently we’re seeing films being shot on 35mm and 65mm films win Oscars and other high profile awards. Directors like Christopher Nola, Quentin Tarantino, and Damien Chazelle are champions of traditional film for its unique texture and depth. The industry has begun to embrace a hybrid approach, where digital cameras are getting better at emulating the look of film while many filmmakers have gone back to shooting on celluloid for its timeless aesthetic. 

What is the biggest technical mistake that a DP can make? 

I think that the biggest technical mistake a DP can make is focusing too much on the gear and not enough on the story. Having the best camera, lenses and lighting setup is important, but cinematography goes beyond technical perfection, it is about using those tools to enhance the emotional impact of a given scene. DPs can get caught up in chasing the sharpest image shot on the latest camera, with the most complex lighting set up, but if those choices don’t serve the narrative or director’s vision they can end up working against the film. For me, the best cinematography is invisible, drawing the audience in without distracting them by being overly flashy or using unnecessary techniques.

Are there any other mistakes a DP can make?

Yes, poor communication. The DP needs to be able to communicate with the director and crew while also being adaptable to changing circumstances. They need to understand that film sets are collective spaces and everyone has an impact on the visual storytelling of the project. A great shot alone doesn’t make a film, especially if it doesn’t fit the tone or support the actor’s performance. At the end of the day, cinematography is about storytelling. The best DPs use their technical expertise to elevate the film, not overshadow it.

How does lighting play a key role in your job? 

Lighting is one of the most powerful tools I have as a Director of Photography. It helps to shape the mood, while directing the audience’s attention and enhancing the emotional impact of a scene. Beyond the aesthetics of illuminating a shot, lighting plays a key role in storytelling. Done correctly it can define a character’s state of mind, create tension or transform the atmosphere of a scene. For me, lighting is a tool to build depth and dimension, ensuring the composition feels rich and cinematic rather than flat. For intimate moments, soft light is best, whereas drama benefits from high-contrast shadows. Every lighting choice is intentional, but it is also about subtlety, sometimes the most effective lighting is the kind the audience doesn’t consciously notice, but rather feels on an emotional level.

What are some ways you’ve used light to portray mood and emotion on the sets you’ve worked on? 

Going back to the previous question, lighting is one of the most important tools for shaping mood and emotion on set. For the project Wallpaper, I leaned into a surreal, sci-fi inspired aesthetic, utilizing teal-colored moonlight to create an otherworldly atmosphere. I was able to play around with unconventional lighting choices in an attempt to match the experimental visual style and dreamlike quality of the film.

On the other hand, for Slobopoly, I took a completely different approach. I opted for a more neutral and grounded nighttime look that reinforced the film’s gritty, realistic tone. In order to make the world feel more lived-in and stripped of artificial stylization, I kept the lighting natural and unpolished which also served to ground the characters and their struggles.

What is the future of cinematography?

I believe that the future of cinematography is shifting more towards vision, taste and capturing performance rather than technical mastery. With the rise of AI, advanced post-production tools, and the increasing accessibility of high-quality cameras, the technical barriers to great cinematography are becoming smaller. This is helping to make cinematography more democratic, as high-quality cameras have become more accessible. However, I think it also means what will set great cinematographers apart in the future is their ability to see and interpret a story, not their technical prowess.

 What will change it in the future?

The evolution of AI will play a major role. Many of the more technical aspects of cinematography such as color grading, focus pulling, or even lighting may become automated or enhanced through ML. But AI cannot replace a cinematographer’s taste, intuition and ability to create a visual language that serves the story. The human element and how we shape light, compose a frame and emotionally connect to actors will always be irreplaceable.

To Follow Yunfan’s Journey Check out His Website at www.frankxudp.com