By Mary Smith
Los Angeles-based Yunfan Xu is carving a name for himself as a Director of Photography (DP) who masterfully blends visual aesthetics with compelling narrative. From theatrical releases to award-winning short films and streaming productions, Xu’s diverse portfolio showcases a keen eye for detail and a deep understanding of how cinematography can elevate storytelling.
Xu views his role as more than just capturing aesthetically pleasing images. “As a Director of Photography, my job goes beyond just making a film look good,” he explains. “I use cinematography as a storytelling tool to enhance mood, character, and emotion. Every choice I make, from lighting to framing to camera movement, is designed to support the narrative and immerse the audience in the world of the film.”
His work is a testament to this philosophy. Apple Cinema, a theatrical release that premiered at Boston’s AMC 19 and is now available on Amazon Prime and Showcase Now, exemplifies his commitment to cinematic storytelling. Similarly, his work on the comedy series Slobopoly garnered critical acclaim, winning Best Comedy Series at the 43rd College Television Awards. Slobopoly also enjoyed a successful run in prestigious film festivals, including the Academy Award-qualifying LA Shorts International Film Festival and the Beaufort International Film Festival.
Xu’s versatility is evident in his varied projects. He skillfully navigates different genres, imbuing each with a distinct visual style. Projects like Jewish For Lunch, Conrad: The Last Defender, and Wallpaper, which is currently streaming on Disney India, highlight his ability to adapt and create compelling imagery across diverse narratives. His growing presence in the streaming space is further solidified by collaborations with platforms like ShortMax, Flex TV, and Dramabox, with notable titles like I Can Never Be Yours and Before the Divorce: My CEO Husband Can’t Get Enough of Me.
Xu emphasizes the power of lighting in shaping the emotional landscape of a film. “Lighting plays a huge role in setting the emotional tone,” he states. “A high-contrast, shadow-heavy look can create tension or mystery, while soft, natural light can evoke warmth and intimacy. For example, in Escaping Eden, I used moody, sharp lighting to reflect the darker themes of the story, while in Slobopoly, I kept the lighting more natural and playful to support the comedic timing.”
Recognized for his impactful contributions to contemporary cinematography, Yunfan Xu has been featured in publications like The Boston Globe, Shoutout LA, and VoyageLA. As he continues to craft visually striking and emotionally resonant imagery, Yunfan Xu remains a sought-after cinematographer for both indie and mainstream productions, solidifying his place as a rising star in the world of cinematic storytelling. He talks about the art of being a DP, his latest projects and the art of cinematic lighting.
How do you define your aesthetic as a Director of Photography?
I naturally gravitate toward high-contrast, cinematic lighting, where shadows play an active role in shaping the mood and depth of a scene. Whether it’s a sharp, dramatic look like in Escaping Eden or a more natural, understated style like in Slobopoly, I always use lighting to create emotion and atmosphere.
In terms of camera movement, I prefer a smooth, intentional approach—slow push-ins, precise tracking shots, and fluid motion that draws the audience into the story without distracting from it. However, I adapt depending on the tone—if a film calls for a raw, handheld energy, I embrace that too.
I’m also very conscious of lensing and texture. I love the clean look of modern glass, but I also experiment with older, vintage lenses for a softer, more organic feel when the story calls for it. Every project has its own visual identity, and my job as a DP is to find the right combination of lighting, movement, and lensing to bring that world to life in the most compelling way possible.
Can we talk about the work you did on Apple Cinema and why you played an integral role in the project?
Absolutely! Apple Cinema was a special project for me because it was a low-budget indie film shot during COVID, which meant we had to be extremely creative in how we approached cinematography. As the Director of Photography, my role was integral in shaping the film’s visual language and helping bring the director’s vision to life, despite the production challenges.
The film was shot primarily at Apple Cinemas in Cambridge, Massachusetts, which became both our set and our biggest storytelling asset. Since the movie takes place in an empty theater during a zombie apocalypse, I used moody, atmospheric lighting to enhance the eerie isolation of the setting. Practical lights—like projector beams, neon signage, and dim theater bulbs—became key sources, adding to the film’s realism while keeping the look cinematic.
A major challenge was working with limited resources while still maintaining a high production value. With a small crew and tight shooting schedules, I had to be efficient with lighting setups and camera movement, often using natural and existing light to our advantage. We also had to ensure continuity and tension throughout the film, so I carefully controlled shadows and contrast to enhance the feeling of unease.
Beyond the visuals, my collaboration with the director—who’s a longtime friend and a relentless hustler—was crucial in executing the film’s ambitious vision. His industry connections helped secure a theatrical premiere at Boston AMC 19, and later, the film was picked up for streaming on Amazon Prime and Showcase Now.
Apple Cinema is proof that resourcefulness, strong visual storytelling, and creative problem-solving can elevate an indie film beyond its budget. Being part of this project was an incredibly rewarding experience, and I’m proud of how we turned challenges into opportunities to craft a visually engaging story.
What sets do you like working on the best, comedy, drama etc?
I love working on a variety of genres, but if I had to choose, I naturally gravitate toward drama and dark, atmospheric storytelling because of the creative freedom it gives me with lighting and composition. I love crafting moody, high-contrast visuals that enhance emotional depth and tension—there’s something really powerful about using cinematography to subtly shape the audience’s experience of a scene.
That said, I also really enjoy shooting comedy, especially when I get to play with dynamic framing and movement to support the timing and energy of a scene. A project like Slobopoly was a great example—it had a fast-paced, comedic rhythm that required precise visual choices to enhance the humor without being distracting. Comedy relies heavily on framing and reaction shots, so I love the challenge of finding the perfect camera placement, movement, and lighting to serve the joke.
At the end of the day, I like sets that feel collaborative and creatively ambitious. Whether it’s a gritty drama, a high-energy comedy, or even a stylized sci-fi film, my favorite projects are the ones where the cinematography plays an active role in shaping the storytelling.
Follow Xunfan Xu on Instagram @frankxudp.
