About this episode
Cinematographer Romain Lacourbas returns to Below the Line to talk about crafting Ballerina , the latest stylish installment in the John Wick universe. This week on Below the Line , Skid is joined by Cinematographer Romain Lacourbas to discuss his visual approach to Ballerina , from the film’s sweeping Prague exteriors to its tightly choreographed fight scenes. Romain breaks down his collaboration with Director Len Wiseman, the decision to shoot single-camera action, and the creative problem-solving behind some of the film’s most explosive moments. We cover: Building trust with Len Wiseman — and how the director’s homemade pre-vis videos helped shape their collaboration Adapting the look of John Wick to a new city — with its own palette and texture Leveraging Alexa 35 cameras and Hawk Class-X anamorphic lenses to add volume and texture — a deliberate choice to highlight Philip Ivey’s distinctive production design Planning and executing long-take action — including that grenade-filled basement sequence Why most stunt scenes were shot with a single camera — and how that impacted timing, blocking, and performance Leaning into practical effects, from real explosions to blood rigs and rain-slicked streets Capturing Hallstatt’s natural beauty — even on a tight shooting schedule Romain also reflects on the freedom he had as a DP, his continued partnership with Camera Operator James Frater, and how working with a detail-driven director made the difference. 🎧 Press play and go Below the Line on Ballerina . For more, visit belowtheline.biz.