“All characters start their own traps.” That’s how cinematographer Nick Matthews describes his favorite scene in Saw X, the latest chapter in the legendary Saw franchise. But this isn’t just another installment in Jigsaw’s twisted legacy–it’s a return to the series’ raw, psychological roots. With a precise understanding of light, movement, and emotion, Matthews crafted a visual language that grips viewers from the first frame and never lets go.
So, how do you design fear? How do you translate dread, desperation, and psychological torment into light and shadow? In this exclusive interview with MasterShot, Hollywood cinematographer Nick Matthews shares how he helped shape one of the franchise’s most visually gripping entries, from reinventing its infamous traps to crafting his most brutal, unforgettable scene.
Cinematographer Nick Matthews during an exclusive interview for MasterShot
From Indie Horrors to Saw X: How Nick Matthews Joined the Franchise
By the time Saw X came calling, Nick Matthews was no stranger to horror. His work on thrillers like Mob Land and Bone Lake had already demonstrated his ability to build tension through cinematography. But this opportunity wasn’t just about experience–it was personal.
“I had an interview with the director. We talked for an hour and a half,” Matthews recalls. “I told him Saw was a big deal to me in high school. It was one of those movies I had to fight to watch, in a very religious household, just to experience it.”
Working alongside director Kevin Greutert, who edited the original Saw and directed Saw VI and Saw 3D, Nick Matthews knew the film needed to honor its legacy while evolving visually.
“I told Kevin this is hands down the best script in the franchise,” he says. “It focuses on Tobin Bell’s John Kramer and takes the audience on a journey through his eyes. He’s never been this central to the story before.”
A scene from the movie “Saw X”
Designing the Traps: Reviving Saw’s Gritty Aesthetic
The Saw films are notorious for their brutal, mind-bending traps, and Saw X is no exception. However, Matthews approached them differently: he wanted the audience to not just see the pain, but feel it.
Cinematographer Nick Matthews wanted to root the new chapter in the aesthetic of the early entries, which he describes thusly: “You kind of feel like you need a tetanus shot after you watch them.”
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Each trap was shot with a distinct visual style, tailored to its emotional weight. Some sequences leaned into claustrophobic framing and harsh lighting; others used space to emphasize isolation and helplessness. And yes, the flickering lights and handheld chaos that define Saw were in full force.
“One of the big challenges of Saw X is that the movie was similar to the first one and unlike any of the other films after that, it is essentially one location,” Matthews explains. “The lighting could all just be one look, and then the movie is one thing in all the trailers, and throughout the arc of the movie, it is just one look. We didn’t want that. I wanted it to be an evolving arc. That was something the audience could experience and partake in.”
A scene from the movie “Saw X”
Nick Matthews’ Favorite Sequence: The Brain Surgery Trap
Some traps make you squirm. Others make you flinch. But the brain surgery trap in Saw X does both, and more. It was one of the most complex sequences to shoot, requiring extensive pre-production, visual planning, and technical coordination.
“We tested that trap four or five times in pre-production,” he says. “We worked closely with the prosthetics team to make sure everything looked and felt real.”
But the scene wasn’t just about gore–it carried deeper symbolism. A crown-of-thorns-inspired headpiece evoked religious imagery, framing the moment as part of a descent into a hellish, psychological underworld.
“We were playing with this idea of Saw X as a descent into hell, and the brain surgery trap was a key part of that. As the traps progress, we used colors to drive the film deeper into this dark, grimy, murky space.”
A scene from the movie “Saw X”
The scene was carefully crafted, from the environment design to the prosthetic close-ups and the final brain reveal. One particularly unsettling detail? The camera was mounted on Billy the Puppet’s tricycle.
“We thought it would be funny and eerie if, when Billy is introduced, the camera was mounted on his tricycle, bouncing along with the ride. It adds this unsettling energy to the moment, and we love how it turned out,” Matthews says.
A scene from the movie “Saw X”
Color, Light, and the Art of Visual Torture
One of the most compelling aspects of Saw X is its evolving use of color. At the film’s start, when John Kramer (aka Jigsaw) believes he’s found hope, the world is washed in warm, golden tones. But as betrayal and horror take hold, those hues slowly vanish. It’s not just a look–it’s a psychological shift.
“Every trap that starts lights flick on, and when a trap ends, all the lights associated with it turn off,” Matthews explains. “And so that created a revolving look inside the room, so that each trap that starts and each trap that ends is taking a unique look.
A scene from the movie “Saw X”
Every Saw film has a signature look, but Saw X takes its color theory and lighting design to new heights.
“For the brain surgery trap, I actually baked the same color palette into an earlier abduction scene,” he says. “So when the trap starts, it already feels familiar, like a nightmare returning.”
Inspired by the industrial palettes of Saw I and Saw II, Matthews leaned into fluorescents: cold blue, poisonous green, and sickly white.
“We used fluorescent blue, a cynical green, and eerie whites to reflect the psychological decay,” he says.
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The film’s base lighting setup was equally layered: ochre yellow in the foreground, sodium vapor in the deep background, and green accents throughout. However, when a trap was activated, the entire look would shift.
“When Mateo triggers the trap, it’s like flipping a circuit breaker,” Matthews says. “The lights snap off, and this eerie wash of blues and greens flickers on—it feels raw and alive.”
A scene from the movie “Saw X”
Shooting for Fear: Cameras, Movement, and Texture
To achieve that signature Saw grittiness, Matthews shot on the Sony Venice at 2000 ISO to add a natural grain and rough texture. The team also used a 1.85:1 aspect ratio for a boxier frame, heightening the feeling of confinement.
“We wanted that Saw I and Saw II feel, so we shot at 1.85:1 for a boxier, more claustrophobic frame. It makes the characters feel trapped, like there’s no escape,” he explains
A scene from the movie “Saw X”
Camera movement played a huge role. Some scenes were handheld and chaotic, others locked off and disturbingly still. The traps, tightly timed and choreographed, required careful blocking and multiple angles.
“We shot almost every trap in one day. So we have to move like lightning,” Matthews says. “We always shot every scene in Saw X with two cameras, sometimes three. And this was a case where we shot with three cameras.”
Beyond the cameras and lighting setups, Nick Matthews employed innovative techniques to create a visceral, painful experience for the audience.
“We even used a Blackmagic camera shooting at six frames per second to capture those stuttered, flash-frame moments of pain–the kind Saw is famous for,” he says.
Behind the scenes of the shooting process of Saw X
Elevating the Franchise: A Cinematic Evolution of Fear
Saw X isn’t just another horror sequel–it’s a visual reinvention. Through color theory, innovative lighting, and inventive camera work, Nick Matthews and his team elevated the franchise’s iconic aesthetic while deepening its emotional impact.
Want to dive deeper into Matthews’ creative process, inspirations, and on-set challenges? Watch the full interview now and explore the making of Saw X through the eyes of its cinematographer.
And if you’re ready to bring your own cinematic vision to life, MasterShot is here to help. From intuitive storyboarding to seamless collaboration, our tools simplify pre-production, so you can focus on what matters most: creating your next horror masterpiece.