Lensers have little in keeping

Marc Carter filming 'Whale Wars.'Todd Liebler filming 'Anthony Bourdain: No Reservations'Arlene Nelson filming 'American Masters: Troubadours'The Emmy-nominated productions for non-fiction cinematography have little in keeping but striking results.Todd Liebler, nominated with Zach Zamboni for that "Anthony Bourdain: No Bookings" episode shot in publish-earthquake Haiti, states each episode from the show varies in "understanding" style."We allow the location speak for itself," Liebler states. The idea would be to treat each week's locale like a character and capture Bourdain's feeling about this. But simply shooting in disaster-ravaged Port-au-Prince would be a constant struggle. In public places, the people was camera shy. Once established to shoot a sunset dinner in a private home among the boulders, he discovered there is no electricty. He got his shots by establishing their own generator.Arlene Nelson and Nicola Marsh of "American Masters: Troubadours," faced another problem: taking the now-and-then essence of James Taylor and Carole King. Nelson states they searched for "the legendary look from the '70s," construed as warm colors and romantic key light.Director Morgan Neville had Nelson shoot together with his '70s-era Nikon lens "for any filmic, print, record-album cover" look. Nelson (who, coincidentally lensed the background music mocumentary "A Mighty Wind") added her very own aesthetic. "Whenever we shot Carole and James within the bar, there is a natural, modern, fresh look," Nelson states.For Hurricane Katrina docu "If God Would Like and da Creek Don't Rise," necessity forced High cliff Charles to shoot electronically, practically abandoning the 16mm film from the doc's first part. But Charles modified and flourished, lighting eight textured skills to "seem like one hundredInch for "quality, clean, sharp" portraits. "We certainly wanted an authentic, natural look, to deal with the topic matter with dignity and sophistication,Inch Charles states, "not the feel of a hands-held prosumer production."The climax of "Whale Wars" finds Marc Carter's crew carrying out a jet-skiing ocean shepherd on the cheeky evening pursuit to hands a Japanese whaler an invoice for his broken boat. "We used evening vision. It's gritty and grainy, but we did not want lighting to tip them back,Inch Carter recalls. Overall, Carter strove for any "unified look" with 10 photographers carrying 40-plus cameras on three motorboats. "I am most happy with taking photos of an remarkable conflict, inside a natural, non-invasive way, and turn it into a great-searching show simultaneously.InchJosh Fox, who favors a rock-show-flavored subjective style, went bare-bones for "Gasland" -- to the stage of "smelling water that has the aroma of turpentine, with one arm holding the jar, another holding your camera.Inch He credits editor Matthew Sanchez with developing the "verite style that suits the emotional sensibility from the story." Fox known as the nomination "an endorsement of reckless driving. Texting and driving is not on shooting and driving."Get more information at the entire listing of Creative Arts nominees.Route To THE EMMYS: CREATIVE ARTS NOMINEESStylish spaces tell their very own tales Lensers have little in keeping Prosthetics pros perform a lot after some Syfy judge boosts 'Dead' Contact the range newsroom at news@variety.com