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.

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