Hailing from China, but based in Los Angeles, Yixuan Li is a highly experienced cinematographer and Steadicam operator with an in-depth understanding of photographic techniques and lighting design. He demonstrates exceptional proficiency in operating both stabilization systems and traditional camera equipment. On set, he consistently collaborates closely with directors to conceptualize and execute innovative shot compositions, providing creative input through dynamic camera movement and visual framing to effectively enhance the narrative’s visual impact.
HELLO YIXUAN LI, WELCOME TO ABOUT INSIDER! WHAT GOT YOU INTO CINEMATOGRAPHY OVER EVERY OTHER FILM MAKING DISCIPLINE?
After watching the film “A Clockwork Orange”, I was inspired to pursue a career as a cinematographer, aiming to convey narratives through visual storytelling. I believe that cinematography transforms emotions, themes, and stories into a purely visual language. While screenwriters rely on words and directors guide actors’ performances, I, as the director of photography, construct meaning through light, shadow, movement, and color. There is a unique power in crafting atmospheres that dialogue alone cannot express—such as tension in darkness, hope in dawn, or chaos in handheld shots.
For me, cinematography represents the synthesis of technical expertise and artistic sensibility. A deep understanding of optics, cameras, sensors, lighting equipment, and color science provides the technical foundation for image creation. At the same time, artistic intuition—reflected in composition, visual metaphor, and emotional rhythm—enables me to elevate technical execution into an art form. This dual nature appeals to me because I appreciate both technological innovation and aesthetic expression.
Moreover, cinematography is an immediate and hands-on creative process that unfolds in real time on set. I have to solve practical challenges as they arise, adapting to weather conditions, fine-tuning lighting setups, or adjusting camera movements. The ability to transform constraints into compelling visual narratives is a defining characteristic of my craft.
I also recognize the cinematographer’s unique capacity to shape perception. Through deliberate use of framing, lenses, and lighting, I can make a small space feel vast, a fleeting moment seem eternal, and a solitary figure be isolated within a crowd. This control over how audiences interpret and emotionally respond to visual content is one of the most powerful aspects of cinematography.
WHAT WAS YOUR FIRST EVER DP GIG?
My first DP gig was in mainland China when I was still working as a 1st AC on a film set. At that time, DP Qi Li asked me if I was interested in the position of a DP. I shared my understanding of the role and the inspiration I got from watching “A Clockwork Orange”. After listening to my description, Qi Li offered me a DP gig for a commercial shoot for a health massage store. It was my first time working as a DP for a commercial shoot, which left a deep impression on me.
On the first day of the shoot, the location was on the rooftop of a six-story building, and the content was a martial arts scene. The original idea was to use two actors dressed in black and white to perform a martial arts exchange to symbolize the balance of yin and yang in Tai Chi.
Through the balance of Tai Chi, it aimed to convey the benefits of health preservation at this massage store to the audience. The weather that day was unpredictable, alternating between sunny and cloudy, which posed a challenge for me. I had to ensure the consistency of the lighting in the shots and used diffusion and bounce boards to deal with the changing weather. The final result was very good.
AS A CINEMATOGRAPHER, WHAT ARE YOUR RESPONSIBILITIES ON SET?
The primary responsibility of a Director of Photography (DP) on set is to provide effective leadership. This includes overseeing the Camera Department, managing crew operations, and supervising key personnel such as the camera team (1st AC, 2nd AC, camera operators) and the gaffer. During blocking rehearsals, the DP collaborates with the director and actors to determine optimal camera movement in relation to performance. In terms of frame composition, the DP decides on shot size, angles, and camera movement techniques (e.g., dolly, steadicam, handheld). Regarding exposure, the DP either oversees or personally operates the camera to ensure precise exposure and optimal dynamic range utilization.
In lighting control, the DP directs the gaffer and grips to manipulate light in accordance with the scene’s mood, time of day, and narrative subtext. The DP must also demonstrate adaptability by addressing unforeseen challenges such as changes in weather or location—for instance, adjusting a daylight setup to simulate moonlight. Additionally, the DP ensures visual continuity by monitoring lighting consistency across all shots and scenes.
WOULD YOU LIKE TO EXPLORE OTHER AREAS OF CINEMATOGRAPHY?
Actually yes, I have dived before and want to train to become an underwater DP.
TELL US ABOUT THE COMEDIAN PROJECT.
“The Comedian” is a drama that follows a struggling comedian Lenny Brooks, who faces a mental crisis after his mother’s death. Pressured by his boyfriend, he fails a personal act and has a public breakdown, ending with an overdose backstage, smiling.
The project was directed by Zhen Zhang, with producer Bai Wen Liu.
This is a highly intriguing project. Our production designer promptly constructed a backstage room within the studio setting.
WERE THERE ANY CHALLENGES FOR YOU ON SET?
There weren’t too many challenges. Many shots and set-ups were carried out according to the pre-production plan, and everything went relatively smoothly overall.
Although, unloading the wooden walls from the truck and moving them into the studio was a very labor-intensive process. My grip and electric team generously offered their help.
WHICH ACTORS AND DIRECTORS WOULD YOU LIKE TO COLLABORATE WITH IN FUTURE?
If possible, I would like to collaborate with director Yvonne Winfrey. Although I haven’t worked with her as a DP, I was part of the camera crew for her film “White Vinegar”. I believe she has a remarkable ability to deeply immerse actors into their roles, and she is excellent at controlling the on-set atmosphere. Under her guidance, the actors’ performances become more vivid. I felt her passion on the set, so I am willing to work with her.
WHAT’S COMING UP NEXT FOR YOU?
I hope to shoot a feature film later this year, but in the meantime I have a multitude of verticals including a new miniseries.
To follow Yixuan Li visit Instagram @yixuan_ash_li
