James Nield on Counterpart
Counterpart broke the mold for short films, traveling internationally and reaching over an estimated 30,000 viewers. Shot as a single-location psychological thriller, Counterpart follows a wayward composer who finds creative inspiration from an otherworldly counterpart. The film garnered multiple awards, including Best Short Film and Best Director, and was featured at major festivals such as Cannes Shorts and the Seoul Short Film Festival. Its success didn’t stop at the festival circuit; it caught the attention of major studios and is now evolving into a pilot titled Metronome.
TheCineTalk spoke with cinematographer James Nield about his work on Counterpart, exploring his approach to spatial authorship, world-building, and the role of intention in his cinematography. Drawing on his experience in commercial filmmaking with brands including McDonald’s and Alienware, Nield reflects on how the precision and discipline of advertising influenced his narrative work. As a member of the International Cinematographers Guild and the Society of Camera Operators, Nield continues to bridge commercial and narrative cinema through deliberate, purposeful imagery.
Q: Counterpart began as a short film but developed a remarkably long life both on the festival circuit and now in episodic development. What did that arc look like from where you were standing?
Nield: It was surprising. You make a short one hoping people will engage with it, but when it started winning awards internationally, the dialogue shifted. Festivals weren’t responding to it as a single artifact; they were treating it as a world with continuity. That interest ultimately led studios to ask about expansion. Looking back, the film’s psychological construction made it feel like a first movement rather than a complete symphony but we didn’t realise that until others pointed it out.
Q: Counterpart travelled globally without dialogue. What made its visual storytelling so accessible?
Nield: By stripping away language, we allowed movement, sound, and rhythm to become the universal means of communication. When dialogue isn’t present, meaning has to be conveyed through visual cues, and that opens up the film to a broader, more instinctive audience. It became about trusting the viewer’s ability to interpret the emotional undercurrents without needing words. The way the film resonated across different cultures really proved how powerful visual storytelling can be when it’s crafted with intent and clarity.
Q: A lot of Counterpart‘s success has been attributed to the precision of the cinematography. How much do you think your visual approach contributed to the film’s impact and recognition?
Nield: Cinematography was the backbone of Counterpart. With no dialogue to rely on, the visuals had to drive the story and establish the psychological tension. Every shot was deliberate, every angle and movement was calculated to heighten the emotional weight. The camera wasn’t just recording what was happening; it was shaping how the audience felt about it. The precision in lighting, framing, and lensing created a world that spoke in its own visual language, one that carried the film’s narrative and emotional core without saying a word.
Q: Can you walk us through the technical choices you made for Counterpart? How did you approach the shoot, and what tools did you use to bring your vision to life?
Nield: The technical approach was all about precision and control. We shot Counterpart on the Sony F55, paired with Zeiss Supreme Primes. The F55 gave us incredible latitude in post, particularly in how it handles shadows and skin tones, which was critical for the psychological nuances we wanted to capture. The Zeiss lenses offered the sharpness and clarity we needed without romanticizing the image; they allowed us to maintain a raw, almost clinical look that supported the film’s sense of confinement. Every lens choice was deliberate, designed to reinforce the emotional tone and psychological tension we were building on screen.
Q: How did lighting contribute to expressing the psychological split between the two worlds in Counterpart?
Nield: Lighting played a key role in differentiating the two worlds, the primary world had a warm, stable feel, lighting was motivated and grounded, with consistent color temperatures and clean ratios. In contrast, the alternate world was cold and unsettling. We used cooler tones, with color temperatures drifting and shadows losing their definition. The lighting was less controlled, creating an ethereal, disorienting feel that matched the psychological tension of that world. These shifts were subtle but integral to guiding the viewer’s perception of each reality.
Q: What was the most challenging aspect of creating Counterpart?
Nield: The biggest challenge was maintaining the psychological tension throughout a confined, single-location space while keeping the audience engaged. Visually, it was about striking the right balance creating a sense of confinement and unease without making the film feel repetitive. Every shot had to feel fresh and purposeful. We also had to ensure that the two psychological realities didn’t become too obvious or heavy-handed. The subtleties in lighting, lensing, and movement had to do a lot of the emotional heavy lifting, which required constant attention to detail. The challenge was in trusting those small shifts to have the intended impact without overwhelming the story.
Q: What was your favorite shot in Counterpart, and what made it stand out?
Nield: One of my favorite shots is the moment with the piano, where the composer opens the lid, and a beam of light spills across the keys. It’s such a simple but powerful visual, and it encapsulates the psychological tension we were trying to convey. The way the light interacts with the space gives a sense of isolation and control, but also a hint of something about to unravel. It’s one of those moments where the lighting, the set design, and the performance all come together perfectly.
Q: You worked closely with Ethan Grover as the writer and director. What was that collaboration like, especially in bringing the film’s psychological depth to life?
Nield: Working with Ethan was an incredible experience. His vision for Counterpart was so clear from the start, and he really trusted the visual side of storytelling. As a writer-director, Ethan had a strong grasp on the emotional tone, so our collaboration was all about enhancing that. He had an intuitive sense of how the visuals should reflect the inner turmoil of the character. There was a lot of creative freedom in how we approached the film, but always with the same goal, to create something that felt authentic and emotionally intense. It was about finding that balance between the narrative and the visual language, and Ethan was fantastic at guiding that process.
Q: You began in commercial spaces before your narrative work gained traction. How did that experience shape or affect your approach to Counterpart?
Nield: Working in commercials taught me to think with precision and clarity. In advertising, every shot has a clear purpose, and you’re constantly aware of how an image must capture attention and communicate quickly. When I transitioned to narrative filmmaking, I carried that mindset with me. For Counterpart, it meant approaching every scene with intent, making sure each frame wasn’t just aesthetically pleasing but emotionally functional. The discipline of commercials helped me shape the film’s visual language, focusing on clarity and purpose in every shot.
Q: After Counterpart‘s success, the story has evolved into a pilot, Metronome. What sparked this transition?
Nield: After Counterpart gained traction, several studios expressed interest in developing the story further. They saw the potential to expand the world we’d built. It wasn’t just about continuing the narrative, but exploring new psychological depths. We also started working with a publisher interested in expanding the world through additional media. Metronome takes the foundation of the short and broadens it, diving deeper into the themes of time, control, and psychological pressure.
Q: Looking ahead, what advice would you give to emerging cinematographers who are trying to develop their own visual voice and navigate the evolving landscape of filmmaking?
Nield: My advice would be to trust your intentions. The technical side of cinematography is important, but it’s the emotional and psychological connection you build with the audience that makes your work stand out. Focus on purpose every frame should have a reason, whether it’s telling a story or creating a specific feeling. And don’t be afraid to experiment, to push boundaries, and to let the visuals evolve with the narrative. Filmmaking is about finding your voice and then using all the tools at your disposal to express it authentically.Final Thoughts
James Nield’s approach to cinematography in Counterpart shows how essential visual storytelling is, particularly in films with minimal dialogue. His technical precision and deliberate choices in lighting, framing, and movement not only defined the psychological tension of the film but also helped it resonate on an international scale. As Counterpart evolves into the pilot Metronome, Nield’s expertise will continue to shape the narrative’s deeper psychological exploration, offering both film enthusiasts and aspiring cinematographers valuable lessons in purposeful, emotionally charged imagery.
