Marte Beck, the name was already mentioned in season 01 by Mathias Ertnaes, so we are excited to finally get the opportunity to chat. Marte is a 2nd AC and Cinematographer on the rise. The conversation revolved around revisiting an older project with fresh eyes, her curious use of naturalistic light, the motivation of the camera and thoughts on collaborating with every department to let ideas build upon each field.

Who are you, and what do you do?

For as long as I can remember, movie sets have been the most exciting place in the world to me. I’ve always loved watching behind-the-scenes footage of anything I could find, and being on set still gives me that same feeling. There’s just nowhere else like it. 

I graduated from Kristiania University College in 2023 with a bachelor's degree in cinematography. Since then, I've been working as a 2nd AC and video assistant while pursuing cinematography through short films.

What I love most about cinematography is the power of visual language. I'm fascinated by how the camera can communicate before anything has been said. I'm always thinking about why a shot feels the way it does. What does this camera movement add? Why is this composition more effective than another? I love exploring how a single frame can contain several different compositions as the actors move through the space or the camera subtly shifts perspective.

What is the latest project you worked on that you are proud of?

I recently shot a short film with director Sindre Haram, revisiting a project that my classmates and I originally made to apply for our preferred specializations in film school. It was interesting to revisit a story that meant so much to us at the beginning of film school and see how much we'd all grown, both technically and creatively.

The first version was handheld and instinctive. We were figuring things out as we went. Revisiting it gave me the chance to approach the same story with much more intention. Instead of relying on instinct, we had the experience to question every visual decision and think more carefully about what it was communicating.

One of our main focuses was the mise-en-scène and how the apartment could reflect the main character's inner life. We wanted the space to say something about who he was without relying on dialogue.

We used a lot of crane moves inside the apartment to draw attention to the life the character dreamed about rather than the one he was actually living. That became the most exciting part of the process for me, figuring out how much we could communicate visually without the character ever saying it aloud. 

Another thing Sindre and I talked about a lot, both during pre-production and on set, was making sure every camera movement had a purpose. When you have the freedom to move the camera so easily, it's tempting to keep it moving. We wanted to be disciplined about it, using movement only when it genuinely added something to the story or the character, not simply because it looked good.

What is the most important thing you focus on as a cinematographer?

For me, it all starts with sharing the same vision as the director and the rest of the crew. Cinematography is never just about creating beautiful images. It's about finding the visual language that best serves the narrative. I enjoy collaborating with every department, because the strongest ideas often come from building on each other's perspectives. Every department has something to contribute, and the best images come from those shared conversations.

I also think every visual decision should have intention. Whether it's a camera movement, a lighting choice, or where a character is placed within the frame, I always want there to be a reason behind it. The cinematography should help the audience understand something about the story or the character, even if they never consciously notice it.

Naturally, I also spend a lot of time thinking about lighting. I love when it feels motivated and believable, even if every source has been carefully designed. I'm fascinated by how far you can push and shape light while still making it feel completely natural.

Right now, I'm really interested in naturalistic lighting because I think it's important to understand why something feels real before you start breaking those rules. As I continue to grow as a cinematographer, I'd love to explore more surreal and stylized lighting choices. Not just to create something visually interesting, but to use light in a more expressive way, to communicate emotion, psychology, and character.

Who in the nordics should get the spotlight next, and why?

I'd love to see Rachel Ringheim featured. She's an incredibly ambitious director with a clear voice as a storyteller. She approaches every project with a belief that nothing is impossible, and that mindset pushes everyone around her to aim higher. Her drive is unlike anything I've experienced. I recently had the chance to work with her on a short film, and I'm already looking forward to the next one.

Instagram: @beckmarte

Photos: Nina strand