Tim Cragg Interview
Posted on Jan 13, 2025 by Admin
“The experience is equal to the creative craft for me”
Definition sits down with sought-after documentary DOP Tim Cragg to discuss the genre’s evolution
Words Nicola Foley
Documentaries are booming at the moment. Once a niche corner of filmmaking, they have exploded into mainstream culture over the last few years, captivating global audiences with true-crime sagas, eye-opening exposés and glossy profiles of celebrities. This meteoric rise is no coincidence. Streaming giants like Netflix have turned real-life stories into binge-worthy entertainment, packing their libraries with docs and reshaping how we consume and connect with the genre – and the impact is clear.
Back in 2007, when Netflix first launched as a VOD service, only 5% of its global subscribers tuned in to watch documentaries. Today, that number has reached a whopping 78%, and it only takes a quick glance at the streamer’s top-ten lists to see how prolifically documentaries feature.
Clearly, our appetite for docs is only growing, but it’s not just a matter of volume or friendly algorithms. The form itself is evolving, with ever-rising production values and, increasingly, a cinematic feel that rivals scripted dramas. Traditional tropes like awkward talking heads, stock music and cheesy re-enactments have given way to a fresh approach. Now more than ever, DOPs are tapping into the tools and techniques of high-end dramas to push the limits of what a documentary can be.
In this landscape, DOP Tim Cragg has carved out an enviable niche. With a career spanning over 20 years, his body of work ranges from raw, observational documentaries to highly polished productions. But in recent years, he has focused on the type of documentary that feels like a feature film: story-driven, atmospheric and undeniably cinematic.
“We’re competing with scripted stuff now,” he reflects. “Something dull just doesn’t cut the mustard – we’re going head-to-head with drama. We’re still using real stories and people, but we’re recognising that we can tell a story that’s honest to these people while using the tools of cinema. We can channel that language and emotion.”
Cragg’s recent lensing work spans projects such as The Deepest Breath – an exploration of freediving – and Encounters, a lavish UFO docuseries from Amblin, Steven Spielberg’s production company. Working on the latter was a dream project for Cragg, who cites Spielberg as a huge influence on his work. The Manhattan Alien Abduction, released on Netflix in October, felt like an extension of Encounters for Cragg, who happily jumped back into the world of extraterrestrial phenomena to capture the story of Linda Napolitano, a New York housewife who claims to have been abducted by aliens.
Blending re-enactments, archived footage and interviews, it draws on classic sci-fi inspirations to create something feels both believable and otherworldly. “I really enjoyed that it was exciting and chilling; there’s mystery in the cinematography with this genre,” he explains. “It’s a nod to everything I grew up with – Close Encounters, ET, Spielberg, it all has that cinematic metaphor that’s in my cells.”
Key to Cragg’s style are his lens choices and use of lighting, and for The Manhattan Alien Abduction, he once again turned to Cooke full-frame anamorphics paired with an ARRI ALEXA Mini LF camera. This set-up, typically used on big-budget feature films, brought a theatrical, immersive quality to the documentary. “Straight away, with that large format camera and the best large format anamorphic lenses, we were in a cinema world,” he confirms.
He achieved the heightened atmosphere he was after by carefully controlling the light sources, as well as manipulating colour palettes to match each character. “In this case, we weren’t after total realism,” he shares. “Directors Dan and Viv were happy for this to be a theatrical world. We wanted closed-in scenes that felt like internal spaces for each character – and in that world, everything was dialled up to ten in terms of atmosphere. That works really well for this genre because it’s all about mystery.
“That being said,” he adds, “it’s still a documentary, so we had a limited budget. It’s about creating – in one location – different tonal changes.”
To that end, the main characters in the series each have a distinct colour palette and lighting design. Cragg often takes a minimalist approach to lighting, choosing compact, portable kit that he can control precisely. He’s adept at creating fresh looks in the same space, simply by moving around furniture and tinkering with the light. “I see it like a play,” he muses. “There’s a single character, and they claim their own space – they don’t really interact with anybody. We always say to them: if you take on the energy of this room you don’t need to do much because the camera and lighting will do everything. It’s very theatrical, which is really fun as a DOP.
“In the scripted world, you often have to make things look real – there might be lots of dialogue and movement of people and area to cover, so lighting can’t be stark and minimalist, having pools of light and shade like paintings might,” he continues. “Whereas in this world, it’s more like a music video! It’s all about developing tone, creating a mood like a horror or thriller would.”
Another tool that Cragg swears by is the Flowcine GLINK, a high-end gimbal operating system with impressive boom range that allows for smooth lateral panning and seamless, dynamic shots. This set-up, combined with anamorphic lenses and an experienced crew (including his trusted first assistant Mike and focus puller Keir), allows him to capture scenes with cinematic precision. “With the GLINK, it’s like having Steadicam but with even more flexibility,” he comments. “I can follow a scene, get in close and still keep a fluid, natural feel that most documentaries lack. It gives me freedom to adjust angles quickly and maintain that energy on screen.” Years of collaboration mean Kier can anticipate Cragg’s moves, which makes every shot smoother and prevents any stiffness.
He’s also a big fan of Aputure lighting, citing its affordability and flexibility. His process usually involves a small team – just a gaffer and sometimes an assistant – and starts by blacking out all windows, setting up tents to block out direct light. Even when windows are in the frame, he makes sure they’re tented, then adds a glow using different colours, perhaps sodium vapour or moonlight, depending on the mood he wants. He’ll use up to 40 small fixtures, ‘painting with light’ to layer depth and texture – whether it’s creating silhouettes, adding bright accents or experimenting with different colours.
Adding to the polished aesthetic of his work is the structured, almost choreographed way he shoots. Scenes for The Manhattan Alien Abduction were all meticulously planned, with detailed location scouting and staging of spaces to make sure they were just right. “We create the environment: it doesn’t exist already!” he grins. “We give people high-rise buildings when they live in an apartment – everything is a movie version. I always imagine that the audiences might be on their phones, texting. I want them to be able to glance up and know exactly what they’re looking at, who that person on screen is and what the feeling is. It’s bold, obvious, dramatic and very clear.”
Cragg’s background in post-production also shapes his approach. “I think like an editor when I shoot,” he explains, describing how he frames scenes with the final cut in mind. This enables him to work efficiently on-set, capturing only what he knows will work in the editing room.
Even with military-level preparation, though, the nature of documentary work means he’s still sometimes surprised by what unfolds during production. While shooting Encounters, his initial scepticism became less certain as he met interviewees around the world. The crew encountered some bizarre occurrences, including strange marks on people and odd experiences that left them questioning reality – so much so that they considered turning the camera on themselves, as they began to feel like they were part of the story. In Japan, locals even suggested that ‘the time is right’ and that they had been chosen to share this message.
Ultimately, “working in the world of documentary means we actually get to experience things – and the experiential value is equal to the creative craft for me,” he shares. “I want to meet the person who believes they’ve gone in a spaceship, and I want to meet the Pope. I want to meet these people and see things with my own eyes and make my own judgement. This kind of work can make you question what you believe in. That part of it – the experience and human element – is really attractive to me.”
For him, the most powerful part of documentary filmmaking is the human connection. “There’s something really beautiful about people being extremely honest and heartfelt towards the camera. Being in the presence of someone who’s brave enough to do that. That’s special and rare. You really feel it when you’re behind the camera – when somebody is telling their story and how it affected them. It’s never boring.”
