Jeffrey Jur, ASC, Talks Netflix's
Bridgerton Cinematography

By Randi Altman

When the Covid lockdown first began, people were offered a bit of an escape in Netflix’s Tiger King. As the pandemic continued, viewers found another Netflix series to binge, but instead of real-life tiger pets and a prodigious mullet, this one — Bridgerton — involved beautiful and frisky high-society Londoners during the Regency era of the 1800s. The Shondaland show, which has set off a small Bridgerton baby boom, is based on the novels by Julia Quinn. It is show-run by Chris Van Dusen.

Bridgerton features beautiful interior and exterior settings that were shot by cinematographer Jeffrey Jur, ASC, and his colleague Philipp Blaubach, BSC. Jur worked on episodes 1, 2, 3, 6 and 7. An LA-based and Emmy Award-winning DP, Jur has shot HBO’s Carnivale, How to Get Away With Murder, Dirty Dancing, The Marvelous Mrs. Maisel and much more.

We reached out to Jur about his experience on Bridgerton, his workflow and his background.

How early did you get involved in planning for the season?
I arrived in London for about six weeks of prep before shooting started. The director, Julie Anne Robinson, and I spent a lot of time riding cars, buses and trains together all around England to see the various locations. So we had plenty of time to discuss the look and style of the show. We were often with our brilliant production designer, Will Hughes-Jones, so it was a lovely creative space to work in while trundling through the English countryside.

What direction were you given about the look?
One concern was that we not be too “precious” with the look and, of course, we referenced many high-end period TV and film productions that had come before. All were beautiful, but we were after something contemporary, current and “now.” Julie Anne mentioned at one point that it should be “bonkers,” which rattled around in my head throughout the shoot. It was sort of a license to free up the style. I didn’t want a veil over the visuals… for the audience to be removed, watching a faraway piece of art or a distant memory. It needed to feel like it could have happened just yesterday.

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