Cinematography Techniques in A24 TV Series: 7 Bold Visual Secrets That Redefine Storytelling
Let’s be honest: when you see that minimalist "A24" logo flicker onto your screen, you already know your eyeballs are about to be pampered—or perhaps slightly traumatized, but in a very high-definition, aesthetically pleasing way. For years, A24 was the darling of indie cinema, the studio that brought us the haunting shadows of The Witch and the neon fever dreams of Spring Breakers. But lately, they’ve brought that same "vibes-first" cinematic DNA to the small screen. From the glitter-soaked trauma of Euphoria to the claustrophobic, sun-drenched anxiety of The Curse, A24 TV series aren't just "content"—they are visual manifestos.
If you're a filmmaker, a creator, or just someone who spends too much time pausing a scene to admire the wallpaper, you've probably wondered: How do they make it look like that? It’s not just expensive cameras. It’s a deliberate, often risky set of **cinematography techniques** that break the traditional "sitcom" or "prestige drama" rules. I’ve spent countless hours (and way too much caffeine) deconstructing these frames. Grab a coffee, because we’re about to dive deep into the messy, beautiful, and technically brilliant world of A24’s visual language.
1. The "A24 Look": More Than Just a Filter (Part 1 of 2)
When people talk about the "A24 aesthetic," they usually mean a specific blend of melancholy and hyper-realism. In their TV ventures, this translates to a refusal to use "safety" shots. In traditional television, you have a wide shot, a medium, and a close-up. It’s efficient. It’s safe. It’s also, frankly, a bit boring. A24 shows like Euphoria (cinematography by Marcell Rév) throw the rulebook out the window. They use long, sweeping onners that feel like a fever dream, or static shots that linger just a few seconds too long, forcing the audience to sit in discomfort.
The core of these **cinematography techniques** is intentionality. Every frame is treated like a painting. Whether it’s the 16mm film grain of Minari (okay, that’s a movie, but the influence is there) or the digital crispness of Beef, the choice of medium is the first step in storytelling. They often favor "soft" sharpness—lenses that capture detail but retain a creamy, organic texture that feels human rather than robotic.
"The camera shouldn't just record the action; it should be an active participant in the character's psyche." — A common mantra among A24 collaborators.
For creators looking to emulate this, the lesson is simple: stop trying to make everything look "perfect." A24 thrives in the imperfections—the lens flares that shouldn't be there, the shadows that obscure a face, the "wrong" white balance that makes a room feel sickly. It’s about mood over clarity.
Explore Professional Cinematography Insights2. Emotional Lighting: Beyond the Three-Point Setup
Most TV shows are lit so you can see everything. A24 shows are lit so you can feel everything. They frequently utilize **low-key lighting** and **motivated light sources**. If a character is sitting in a dark room with only a laptop screen glowing, the cinematographer won't "cheat" by adding a fake rim light just to separate the actor from the background. They let the character melt into the shadows.
Practical vs. Artificial
In The Curse, the lighting often feels intentionally "ugly." It mimics the flat, fluorescent glare of a HGTV show, which serves the narrative's themes of superficiality and cringe. Conversely, in Euphoria, the lighting is "emotional realism"—using saturated magentas and deep blues to represent the internal highs and lows of teenage addiction.
3. Unconventional Framing and the "Dead Space" Philosophy
Have you ever noticed how in an A24 show, the character is often shoved into the corner of the frame? This is called **negative space** (or "dead space"), and it's used to evoke feelings of isolation, insignificance, or impending doom. While traditional TV follows the "Rule of Thirds" religiously to keep things balanced, A24 loves **short-siding** their subjects.
Short-siding is when a character is looking toward the edge of the frame they are closest to, rather than the open space. It creates an immediate sense of claustrophobia. It makes the viewer feel like there’s something behind the character that we can’t see. It’s a psychological trick that turns a simple dialogue scene into a suspenseful moment.
Wide Shots for Intimacy?
Counter-intuitively, A24 often uses extreme wide shots to capture intimate moments. By showing a character's tiny silhouette against a massive, indifferent landscape (think Ramy or Beef), they emphasize the character's internal struggle against the world at large. It's a visual metaphor for "man vs. society" that requires zero dialogue.
British Film Institute Technical Guides4. Color Theory as a Narrative Weapon
Color in an A24 series is never accidental. They don't just "color grade" to make it look pretty; they use color palettes to signal shifts in the story. In Beef, the contrast between Danny’s cluttered, warm-toned world and Amy’s sterile, cool-toned billionaire lifestyle tells you everything you need to know about their class conflict before they even speak.
- Monochromatic Schemes: Using variations of a single color to create a surreal, trapped feeling.
- Complementary Discord: Using clashing colors (like orange and teal, but grittier) to signify internal chaos.
- Desaturation: Draining the color in moments of depression or "the morning after" realizations.
5. Practical Cinematography Techniques for Independent Creators
You don't need a $100,000 ARRI Alexa to get this look. If you’re a creator or a startup founder trying to make your brand videos look "prestige," here are a few actionable tips:
- Embrace Natural Light: Instead of bright LED panels, use a window and a sheer curtain. Let the light fall off naturally.
- Use Vintage Glass: Old lenses from the 70s (Canon FD, Helios 44-2) have imperfections that mimic the A24 "film" look for a fraction of the cost.
- Limit Your Depth of Field: But don't go overboard. Keep the background recognizable but soft to pull focus to the emotion.
- Sound Design is 50% of the Visuals: A24 shows often have "heavy" silence or low-frequency drones that make the visuals feel more intense.
6. Common Pitfalls When Mimicking the A24 Aesthetic
The biggest mistake people make is **aesthetic over substance**. If you have a beautifully lit shot of a person crying in a neon-lit bathroom, but there’s no narrative reason for them to be there, it’s just a music video. A24 succeeds because their "weird" shots are always grounded in character.
Another pitfall is over-grading. Putting a heavy grain filter and a green tint on your video doesn't make it "indie"—it just makes it hard to see. The "look" starts on set with production design and lighting, not in the editing software.
7. Case Study: The Visual Language of 'Beef' and 'I'm a Virgo' (Part 2 of 2)
In I'm a Virgo (created by Boots Riley), the cinematography uses **forced perspective** and **practical in-camera effects** rather than CGI to show a 13-foot-tall protagonist. This choice gives the show a tactile, "real" feeling that CGI often lacks. It feels like a story being told by humans, for humans.
Meanwhile, Beef uses a lot of handheld camera work during high-stress scenes. It’s not "shaky cam" for the sake of it; it’s a vibrating, nervous energy that mimics the lead characters' adrenaline. When they are calm (which is rare), the camera locks down on a tripod. This contrast is a masterclass in using equipment to mirror psychology.
Academy of Motion Picture Arts & Sciences ResourcesVisual Breakdown: The A24 Style Guide
Frequently Asked Questions
Q: What camera does A24 use for their TV shows?
A: It varies by show, but they frequently use the ARRI Alexa Mini or Alexa 35 paired with vintage anamorphic lenses. However, shows like Euphoria Season 2 famously shot on Ektachrome 35mm film to get that specific high-contrast, grainy look.
Q: How can I get the A24 color grade in Premiere Pro?
A: There is no single "LUT" for it. Focus on reducing the "digital" sharpness, adding subtle film grain, and using the Lumetri color wheels to tint your shadows with cooler tones while keeping highlights slightly warm or "milky."
Q: Why do A24 shows look so different from Netflix shows?
A: Netflix often has strict technical delivery requirements (4K resolution, specific brightness levels) which can lead to a "standardized" look. A24 prioritizes the director's unique vision, often opting for darker, moodier, or grainier images that might technically "fail" a standard broadcast test but succeed artistically.
Q: Is 'The Curse' shot like a documentary?
A: Not exactly. It uses a voyeuristic style—shooting through windows, plants, or from long distances with zoom lenses—to make the viewer feel like they are spying on something they shouldn't be seeing. It's cinematography as social commentary.
Q: What is "short-siding" in cinematography?
A: It’s when you frame a character so they are looking toward the "closed" side of the frame. It breaks the rule of "lead room" and creates instant psychological tension or a feeling of being stuck.
Q: Does A24 use a lot of CGI?
A: They prefer practical effects and creative cinematography techniques whenever possible. Even in a show like I'm a Virgo, they used oversized sets and puppets to keep a grounded, tactile feel.
Q: Can I achieve this look with an iPhone?
A: Yes! Use an app like Filmic Pro to lock your exposure and white balance. Focus on your lighting and framing (the "dead space" technique works on any camera) and use a lens attachment for natural flares.
Final Thoughts: The Camera is a Character
The magic of A24's **cinematography techniques** isn't about the gear; it's about the courage to be "ugly" or "weird" in service of the truth. Most TV wants to be easy to watch. A24 wants to be felt. Whether it's the neon haze of a drug-fueled party or the stagnant, sun-bleached air of a failing marriage, the camera is always whispering the character's secrets to us.
If you're a filmmaker, stop asking "What camera should I buy?" and start asking "What does this character's fear look like?" Does it look like a wide shot where they are tiny? Does it look like a close-up where the focus is slightly off? Once you answer that, you're on your way to creating something truly cinematic. Now, get out there and break some rules. Your audience’s eyeballs will thank you.
Would you like me to analyze the specific camera gear and lens kits used in 'Euphoria' versus 'Beef' for a more technical breakdown?
