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As we have in the past, IndieWire reached out to this year’s nominees for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited or Anthology Series or Movie, and asked them which cameras and lenses they used — but even more important: Why were these the right tools to create the look of their series?

The nominees’ answers are below, organized by Emmy category and in alphabetical order by series title.

Outstanding Cinematography for a Single-Camera Series (One Hour)

“Euphoria”

Nominated Episode: “The Theater and Its Double”

Format: 35mm (3 perf)

Camera: Arricam Lt, Arri 435

Lens: Cooke S4, Cooke Panchro, Zeiss Super Speeds/B-speeds, Zeiss uncoated Super Speeds

Marcell Rév: Our goal for this season was to make it feel like a melancholic memory of high school years. The organic structure of these film stocks, the texture of old glass, the flairs, the imperfection of these...

(l-r) Scott Glenn and Mimi Leder on location in Broken Hill.

HBO.s critically acclaimed The Leftovers returns to Foxtel this week after shooting a large chunk of its third and final season in Australia last year.

The show tracks the impact of The Sudden Departure, in which two per cent of the world.s population vanished without a trace, on those left behind.

As the show.s regular director and Ep Mimi Leder (Deep Impact) puts it: .If you.re going to do a show about the end of the world, what greater place to go to than Australia, which is practically at the end of the world to us (laughs)..

Leder and the production team, including creators Damon Lindelof (Lost) and Tom Perrotta (Little Children, Election), on whose novel the series is based, were inspired by the Australian films of the 70s.

.Season two was very much inspired by Picnic at Hanging Rock,...