Paul Cameron, ASC has worked on some of the most visually groundbreaking feature films of the past decade.
In 2017, he shot the action thriller The Commuter, which starred Liam Neeson and was directed by Jaume Collet-Serra. Cameron also lensed the pilot for the critically acclaimed HBO series Westworld. Written and directed by Jonathan Nolan and produced by J.J. Abrams, the series premiere drew 3.3 million viewers — one of HBO’s most-watched premieres. He shot the pilot on 35mm film to enhance the large scale cinematic feel. This work earned him a 2017 Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series, and a 2017 ASC Award nomination for outstanding achievement in a TV, Movie, Miniseries or Pilot. It also featured in the 2016 Camerimage First Look TV Pilots competition.
Prior to shooting the pilot, Cameron spent the larger part of 2015 shooting Disney’s much anticipated Pirates of the Caribbean: Dead Men Tell No Tales on location in Australia.
Cameron has lensed for directors: Tony Scott (Man on Fire, Déjà Vu), Michael Mann (Collateral), Neils Arden Oplev (Dead Man Down), Len Wiseman (Total Recall), and Dominic Sena (Swordfish, Gone in Sixty Seconds) among others.
His cinematography for director Michael Mann’s Collateral confirmed the capabilities of the still-young digital medium, immortalized now as one of the first major studio films to embrace digital cinematography. The film earned Cameron a British Academy of Film and Television Arts (BAFTA) Award and the Los Angeles Critics Award for Best Cinematography.
In 2003, his masterful lensing caught the eye of the Clio and AICP awards. His photography on the BMW featurette “Beat the Devil” with director Scott took top cinematography honors at both events and is now part of the NYC Museum of Modern Art’s permanent collection. He won another Clio in 2008 for the VW Golf Night Drive spot with director Noam Murro – his third Clio to date.
Cameron currently resides in Los Angeles. He is represented by DDA.