Stephen Murphy, BSC, ISC: embracing the darkness of Say Nothing The Cinematography Podcast 2025-06-19 | The Cinematography Podcast Episode 315: Stephen MurphyThe FX and Hulu limited series Say Nothing is a historical drama that explores the harrowing period known as The Troubles in Northern Ireland, spanning four decades from the 1970s to the 1990s. The series delves into the complexities of the conflict, focusing on sisters Dolours and Marian Price and their part in the IRA. The sisters’ involvement in the 1972 abduction and murder of Jean McConville, a widowed mother of ten, is a devastating narrative in the show. Her disappearance, and her family’s decades-long search for answers, provides a heart-wrenching backdrop to the larger conflict.Irish cinematographer Stephen Murphy, BSC, ISC worked on the final two episodes of the series. He’s earned a Best Cinematography BAFTA and IFTA nomination for his work on Say Nothing. “Say Nothing is a real story about the very real horrors of what happened in Ireland during The Troubles,” he says. “But I think in a modern context, given what’s going on in the rest of the world, it has a lot to say about the idea of romanticizing rebellion and how somebody could be interested or attracted to that, and slowly over time, fully come to realize the consequences of what they’re doing.”Stephen has cultivated a reputation for his masterful use of darkness in his work, a key reason he was brought on board for the series’ conclusion. “A lot of the work I do is dark and it deals with darkness. I really like darkness more than I like the light probably,” he laughs. In the finale, Dolours Price finally reveals her role in Jean McConville’s disappearance. To depict the events of what happened that night, the crew was on a rural stretch of dirt road and dunes alongside the ocean. As a storm approached, Stephen had to change the lighting plan, relying instead on car headlights and flashlights to illuminate the scene. “It actually worked out far better than my original plan was going to. It was more truthful, it was probably darker, but I think it worked better for the story and better for the tone and the atmosphere,” he says.When approaching emotionally resonant scenes, Stephen strives for a visual simplicity that guides the audience without distraction. “I think for me, it’s a question of figuring out a way to get out of the way of the camera and not try and impose anything overly stylistic on the scene,” he says. “I love visual simplicity. And I’m trying to present the scene in a way that is helping the audience focus on what’s important to the scene and not be distracted by unnecessary showmanship.”Beyond Say Nothing, Stephen Murphy also served as director of photography for two episodes of the second season of The Tourist, the Netflix dark comedy starring Jamie Dornan as an amnesiac.Find Stephen Murphy: Instagram: @stephenmurphybscSee Say Nothing on FX on HuluSee The Tourist on NetflixHear our previous interview with Stephen Murphy
DP Matty Libatique on working with Darren Aronofsky on Caught Stealing and their long relationship The Cinematography Podcast 2025-10-01 | DP Matty Libatique on working with director Darren Aronofsky on Caught Stealing and their long relationship as collaborators. Listen/watch the entire episode! youtu.be/_mCs8Ug7c_E @libatique @officialspikelee #highest2lowest @darrenaronofsky #caughtstealing #NewYork #newyorkcity @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #filmpodcast #cinematographypodcast
Matty Libatique, ASC on mixing digital, 16mm and Super 8 film stocks on Highest 2 Lowest The Cinematography Podcast 2025-10-01 | Matty Libatique, ASC on mixing digital, 16mm and Super 8 film stocks on Highest 2 LowestListen/watch now! youtu.be/_mCs8Ug7c_E @libatique @officialspikelee #highest2lowest @darrenaronofsky #caughtstealing #NewYork #newyorkcity @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #filmpodcast #cinematographypodcast
Matty Libatique, ASC on shooting in New York for Highest 2 Lowest and Caught Stealing The Cinematography Podcast 2025-10-01 | Cinematographer Matty Libatique, ASC on shooting in New York for Highest 2 Lowest and Caught Stealing with New York filmmakers Spike Lee and Darren Aronofsky Listen/watch now! youtu.be/_mCs8Ug7c_E @libatique @officialspikelee #highest2lowest @darrenaronofsky #caughtstealing #NewYork #newyorkcity @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #filmpodcast #cinematographypodcast
Matty Libatique: the NY of Highest 2 Lowest, Caught Stealing The Cinematography Podcast 2025-09-26 | The Cinematography Podcast Episode 326: Matthew Libatique, ASCCinematographer Matty Libatique, ASC, has had a productive year. Shortly after moving to New York, he began work on Spike Lee‘s film, Highest 2 Lowest. Immediately after wrapping that project, Matty prepped for Darren Aronofsky‘s Caught Stealing, and then, following a short break, he collaborated with Bradley Cooper on Is This Thing On? (which releases in December.) He found it fascinating to explore New York City through the lenses of three distinct directors, feeling privileged to shoot three New York-centric movies back-to-back.The New York depicted in Highest 2 Lowest and Caught Stealing are starkly different, depending on where people from different socioeconomic backgrounds live. Both films effectively convey the diverse realities of living there. During location scouting with both Lee and Aronofsky, Matty noted their deep familiarity and emotional attachment to where they chose to shoot. He feels that movies faking New York locations lack the inherent authenticity of shooting in the real city.Highest 2 Lowest is a reinterpretation of the Akira Kurosawa classic, High and Low. Matty used High and Low as an influence, even though Lee was not making a direct adaptation. He found the Kurosawa film helped him see the hierarchy between the affluent and the poor, and the literal rise to the top of a hill by the wealthy industrialist from his humble origins. These themes became the seed of his visual inspiration.In Highest 2 Lowest, Denzel Washington’s record executive David King inhabits a high-rise, literally looking down on the world from a high vantage point. The film is intensely character-driven, and with a large ensemble cast, Matty often shot with two to three cameras per scene. The film used an actual exterior of the Olympia building in Dumbo, Brooklyn while the crew shot on a volume stage set for the interiors. Matty found shooting on the volume stage and working with Unreal Engine to create the background images for the penthouse set to be the most challenging aspect of the shoot. It demanded far more advance planning and preparation to perfect the background images than the production schedule allowed. Spike Lee frequently incorporates various film formats in his movies, and Matty saw an opportunity to use both a 16mm and a new KODAK Super 8 film camera once the action in Highest 2 Lowest shifted outside the controlled apartment environment. He use both the 16mm and the Super 8 on the subway and in scenes of the Puerto Rican Day parade, also combining them with different film stocks. Lee cut between these distinct formats, which made a sense of heightened chaos.Caught Stealing recreates the New York City of the 1990s, with Martin Scorsese’s After Hours serving as a major reference. Matty felt that the character Hank Thompson (Austin Butler) needed a distinct look to articulate the story. He thought about the rust-red tint of the Lee Marvin film, Point Blank, and used a Camtec Color-Con2 to deliberately bleed red color into a few key scenes.Even though Caught Stealing is entertaining and full of action, it was important to Aronofsky to tell a strong, narratively-driven story, with performance and character making the sequences as exciting and brutal as possible. Matty enjoyed tackling a fun, popcorn genre film with Aronofsky, a cinematic space they hadn’t explored together before. “It was fun—it really was fun to work with somebody that I’ve worked with for years,” Matty concludes. “We’re much older than when we met. And we’ve made a lot of films together. And it was fun.”Highest 2 Lowest is streaming on Apple TV+, Caught Stealing is in theaters, and Is This Thing On? will have its theatrical release December 19.Find Matty Libatique: Instagram @libatiqueHear our previous interviews with Matty at www.camnoir.com!SHOW RUNDOWN:00:05:18 Close FocusRemembering Robert Redford and his huge impact on independent filmmakers through the Sundance Film Festival and the Sundance Institute.00:14:31-1:02:42 Interview** See Show Notes at camnoir.com/ep326 for detailed TECH SPECS and LINKS1:03:11 Short EndsBen’s short end: Adobe Premiere is now available for iPads and iPhones.Illya’s short end: Eleanor the Great opens this weekend, directed by Scarlett Johansson and starring 95 year old June Squibb.1:10:30 Wrap up/CreditsHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Alana Kode
DP John Conroy discusses lighting and shooting Robert De Niro for the political thriller Zero Day. The Cinematography Podcast 2025-09-22 | Cinematographer John Conroy discusses lighting and shooting Robert De Niro for the Netflix political thriller Zero Day. Listen/watch the full episode: youtu.be/2uZHzlAcaww@jccine #JohnConroy #zerodaynetflix #RobertDeNiro #leslilinkaglatter #politicalthriller #terrorism @fallout @wednesdaynetflix @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #producer #executiveproducer #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
John Conroy on grounding the political thriller Zero Day The Cinematography Podcast 2025-09-22 | The Cinematography Podcast Episode 325: John Conroy, ASC, ISCFor the Netflix six-part political thriller, Zero Day, cinematographer John Conroy, ASC, ISC worked with director Lesli Linka Glatter to create a visual style that felt grounded in reality. Their goal was to make the story, which follows a cyberterrorist attack, feel like it could happen tomorrow. This approach allowed them to focus on the human element and the psychological impact of the events rather than sensationalized drama or violence.John shot all six episodes of the series, a creative choice he found deeply rewarding, although he doesn’t feel the need to always be the lead DP. The cohesive approach was important since they prepped the episodes over 10 weeks as three separate films. John and Glatter shotlisted scenes on weekends, deciding what images would create the most impact for beginnings, transitions and exits for each scene. He made notes in his script to track the desired look, light, and emotion for each scene.John says working with Robert De Niro was a pleasure. He found a subtle way to enhance De Niro’s performance through lighting and camera tests. “People’s faces look different when you light them from one side or the other,” he notes. “I found with Bob that when he was lit from his right hand side, that he looked more severe than when he was lit from the left hand side.” John used this technique in interrogation scenes to emphasize the character’s increasing pressure and tension. For more emotional scenes, he lit De Niro from the left to convey a more nuanced and serious tone. Framing each shot was important to the story as well. John always shot De Niro’s character, George Mullen, around high doorways and down long hallways, making him seem trapped and under increasing pressure.A key element of the show’s look is John’s use of single-source lighting, keeping things simple and uncomplicated as much as possible. But he encountered a challenge with the Zero Day Commission offices, whose walls consisted of several layers of glass. John collaborated closely with the set builders to plan his shots and manage the numerous reflections in the office sets. To prevent unwanted double reflections, they created custom black panels to black out panes of glass behind the camera. The lights were cued to dim as actors walked through a shot, controlling reflections.John’s passion for cinematography began at an early age, inspired by his father, Jack Conroy, who was also a cinematographer. At just 12, John began loading 16mm film for his father on documentaries and commercials. He then worked as a focus puller until he decided to move into cinematography after working on The DaVinci Code. He and his father were able to work together on the TV series Broadchurch, with Jack shooting second unit.John’s current work can be seen on Wednesday Season 2, the upcoming Dune: Prophecy Season 2, and the upcoming Fallout Season 2.Find John Conroy: Instagram: @jccineSee Zero Day on NetflixSHOW RUNDOWN: 1:02:29 CLOSE FOCUSLate-night host Jimmy Kimmel’s suspension over his comments about Charlie Kirk.1:12:25-1:00:32 Interview with John Conroy** See Show Notes at camnoir.com/ep325 for detailed TECH SPECS and LINKS1:03:09 SHORT ENDSBen's short end: Thank You Very Much, a documentary about Andy Kaufman. Also, be sure to catch Regal’s Month of Masterpieces at its select theaters every day in September. Go see some great films!Illya's short end: Highlights from the IBC2025 trade show in Amsterdam. (Read more in Show Notes at camnoir.com/ep325)1:18:40 SHOW CREDITSHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Alana Kode
Producer, director, DP Dana Gonzales on Alien: Earth and working with showrunner Noah Hawley. The Cinematography Podcast 2025-09-15 | Producer, director, DP Dana Gonzales on creating the world of Alien: Earth and working with showrunner Noah Hawley for a decade. Listen/watch the full episode: youtu.be/-NDuA24D3iU@dana_gonzales_asc @alienearthfx #NoahHawley #DanaGonzales #AlienEarth #Alien #alienmovies #AlienFranchise #scifi #horror #xenomorph @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #producer #executiveproducer #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
Alien: Earth director/DP Dana Gonzales reimagines a classic The Cinematography Podcast 2025-09-12 | The Cinematography Podcast Episode 324: Producer, Director, DP Dana Gonzales, ASCDana Gonzales, ASC is a producer, director, and cinematographer known for his collaborations with visionary showrunner Noah Hawley on projects like Fargo and Legion. Dana has once again partnered with Hawley to bring the iconic sci-fi horror franchise to television with FX’s Alien: Earth. Dana shares insights on his creative process, the challenges of honoring a cinematic legacy, his career path and the future of the industry.For Dana and Hawley, tackling the Alien universe was a formidable task. The goal wasn’t just to produce a new chapter, but to recreate the visceral feeling of the original. The team deliberately leaned into the aesthetic of the first two films, going so far as to create near-exact replicas of the original Alien spaceship Nostromo’s sets for the new Maginot spacecraft.While the Xenomorph has become a familiar alien over nine films, Alien: Earth adds five new and dangerous creatures. The Xenomorph has its own story arc and development throughout the show. The new, eight-hour narrative format allows for a deeper exploration of the story and characters. Dana and Hawley’s deep respect for the source material extends to their technical approach. They wanted to capture the original film’s sense of existential dread, a feeling heightened by the decision to have the ship crash on Earth. This plot point dictated Dana’s plan for the camera work, with little coverage and long takes. They frequently stayed in a two-shot to maintain intimacy and tension. To further evoke the feel of the original, Alien: Earth was shot in 2.3:5 anamorphic, a first for the FX network.Hawley directed episodes one and five, with Dana serving as cinematographer to establish the look of the show. Dana stepped into the director’s chair for episodes two, three, seven, and eight. Dana is also an executive producer on their joint projects, acting as a “creative executive producer” on set. In this role, he preps each episode, serves as the on-set decision-maker and manages second unit photography, ensuring the overall creative vision is maintained.The trust between Dana and Hawley is a fundamental part of their collaboration. They begin by building the world, finding images and discussing the story arc. This partnership, which began on Fargo, has evolved into a creative shorthand. Hawley’s support allows Dana to push creative boundaries. “One of the most attractive things about this collaboration is that he’s got my back and I could push things creatively,” he says. “I try things, I throw it out there, I do whatever. And I think he comes to expect that and likes that.”Find Dana Gonzales: Instagram: @dana_gonzales_ascSee Alien: Earth on FX on HuluHear our previous interview with Dana GonzalesSHOW RUNDOWN: 03:28 CLOSE FOCUS The Creative Arts Emmy Awards. The winners included our guests Jessica Lee Gagné for Severance, Adam Newport-Berra for The Studio, Matthew Lewis for Adolescence and Adam Bricker for Chef’s Table: Legends.11:37-1:09:58 Interview with Dana Gonzales** See Show Notes at camnoir.com/ep324 for detailed TECH SPECS1:13:21 SHORT ENDSBen’s short end: Regal is featuring a Month of Masterpieces at its select theaters every day in September. Go see some great films!Illya’s short end: Illya is headed to IBC2025 in Amsterdam.1:20:11 SHOW CREDITSHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Alana Kode
DP Larkin Seiple on how the camera can both trick and reveal in the movie Weapons. The Cinematography Podcast 2025-09-07 | DP Larkin Seiple on how the camera can both trick and reveal in the movie Weapons. Listen/watch now! youtu.be/TzKZSRd-fa8@larksss @weaponsmovie @zachcregger #weaponsmovie #horror #horrormovie #thriller #mystery #larkinseiple #zachcregger @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
Larkin Seiple on shaping the horror of Weapons The Cinematography Podcast 2025-09-05 | The Cinematography Podcast Episode 323: Cinematographer Larkin SeipleCinematographer Larkin Seiple was ready to take a well-deserved break after wrapping the film Wolfs when director Zach Cregger sent him the script for Weapons. Larkin loved the horror mystery/thriller and that it follows the characters through the story from beginning to end. “It was the most fun I’d had reading a script for a really long time,” he says. Larkin, who is not a big horror fan, watched Cregger’s previous movie, Barbarian and enjoyed his approach to the genre. Larkin and Cregger met, immediately connected, and began shotlisting and brainstorming for Weapons. Cregger was brutal about keeping coverage shots to a minimum, so the audience only sees enough to keep the story going. This meant few establishing shots or characters driving from one destination to another. But with a short shooting schedule and hundreds of scenes in the script, it was essential to have fewer shots when possible.Crafting the look of Weapons proved challenging, due to the time of year they were shooting. Originally, the film was planned for winter, when the setting would be dreary and melancholy, but they ended up shooting during summertime in Georgia. “We ultimately wanted to find a look that kind of enhanced the scenery and the mood,” explains Larkin. “Something very melancholy, and this sense of something evil happening, and the sense of frustration.” Since the look was dark and moody, more windows were built into the sets so that diffused light could come in, which was shaped with negative fill. Night shots looked natural, with lights and a camera mounted on a condor crane in the neighborhood location.With about 249 scenes to shoot, Larkin was very involved in scheduling and location scouting for Weapons. The crew had to move extremely quickly, averaging about 6-8 scenes per day. “You’re relighting and re-blocking six to eight times and trying to do it as quickly as possible,” Larkin says. “We found ways to do a lot of it in one shot or two, which affected the visual language of the movie. It was a very ambitious approach to the shoot. You’re working with child actors that turn into pumpkins after six hours.” The crew had two months of prep, which Larkin used to scout and create photoboards for each location. “It was a very laborious process, but there was no problem solving on the day. Photoboarding forces you to do all the problem solving because you’re there- unlike storyboarding, which is very cute,” he remarks. “Being on the ground and being on the location, you actually get to see what you’re up against.”Weapons maintains constant camera movement throughout, speeding the story along and propelling each character’s point of view through their ordeals during the film. But the camera never reveals anything before the time is right. “There’s a maliciousness to the camera in that it does show you information but it’s not gonna help you,” laughs Larkin. “It’s very much trying to enhance what is going on, trying to put you in the shoes of the characters to be like, what was that? The camera ALSO wants to know what that was!”Find Larkin Seiple: www.larkinseiple.com Instagram: @larksssSee Weapons currently in theaters.Hear our previous interviews with Larkin Seiple: camnoir.com/ep178camnoir.com/ep220SHOW RUNDOWN: 02:35 CLOSE FOCUSPinewood Studios is opening an independent film hub to help support UK filmmakers.09:32-1:08:19 Interview with Larkin Seiple** See Show Notes at camnoir.com/ep323 for detailed TECH SPECS1:08:45 SHORT ENDSBen’s short end: Filmmaker Scott Spiegel, who wrote Evil Dead II, has died. The podcast The Town did an interview with the CEO of AMC.Illya’s short end: The new movie Lurker used Hot Rod Cameras as a location for some of their scenes.1:16:08 SHOW CREDITSHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Alana Kode
Matthew Chuang: bringing an authentic look to Chief of War The Cinematography Podcast 2025-08-28 | The Cinematography Podcast Episode 322: Matthew Chuang, ACSChief of War is a historical drama series from Apple TV+ co-created by and starring Jason Momoa. The show features a primarily Pacific Islander cast speaking Hawaiian, and is the first program to tell the story of the brutal and unprecedented unification of the Hawaiian islands in the late 18th century.Cinematographer Matthew Chuang, ACS shot episodes 1, 2, 5, 8 and 9 of Chief of War. He teamed up with director Justin Chon, his friend and collaborator on the indie film, Blue Bayou, to shoot episodes 1 and 2. Working with Chon, Matthew set the look of the show- a naturalistic, honest and real look, with few effects or stylized camera moves. They drew from films by director Terrence Malik, cinematographer John Toll and movies such as The Last of the Mohicans and Apocalypto. Matthew had never worked on a television show before, let alone an epic one like Chief of War. Understanding the history and receiving guidance on cultural sensitivity was also important to the crew, who often engaged with the actors and local community to make sure it felt authentic. The crew shot in Hawaii for eight weeks before shifting to locations in New Zealand.For Matthew, the ninth and final episode, directed by Jason Momoa, proved to be the most difficult. They filmed major battle scenes in the lava fields of Kalapana on Hawaii, while the Mauna Loa volcano erupted for the first time in more than three decades. The lava rocks were sharp, hot and offered no protection from the sun, and the battle as scripted went from daytime into night. Matthew had to carefully plan the shooting schedule around the time of day in the script, with the crew often starting at 3am to get shots going from night into day. It was Momoa’s directorial debut, and Matthew found him to be extremely knowledgeable. “Jason is very involved on the visual side,” explains Matthew. “He loves cameras. He loves the craft of shooting. He knows lighting as well, like the direction of the sun, especially with the show where we’re shooting a lot of times outdoors, a lot of time on location.”Find Matthew Chuang: matthewchuang.comInstagram: @mattscopeSee Chief of War on Apple TV+SHOW RUNDOWN: 1:32 CLOSE FOCUSK-Pop Demon Hunters is now Netflix’s most watched movie in Netflix history and it’s also the number one movie right now in theaters.8:26-59:44 INTERVIEW with Matthew Chuang** See Show Notes at camnoir.com/ep322 for detailed TECH SPECS59:52 SHORT ENDSBen’s short end: Exegesis Lovecraft, a documentary on Tubi.Illya’s short end: The Sony firmware update adds BIG6 homescreen to the FX3 and FX30 cameras. You can buy a Sony FX3 and FX30 at Hot Rod Cameras.1:06:34 SHOW CREDITSHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Charlie Nix- Good luck Charlie on all your new endeavors!
DOP Matt Lewis on the effectiveness of the one shot technique in the Netflix series Adolescence. The Cinematography Podcast 2025-08-25 | DOP Matt Lewis on the effectiveness of the one shot technique in the Netflix series Adolescence. Listen/watch the full episode! youtu.be/Lo4RsjPsXHo@mattlewisfilm @netflix #Adolescence #adolescencenetflix #tv #tvdrama #netflix #emmynominations @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
Adolescence DOP Matt Lewis on how every single one shot in the show was carefully choreographed. The Cinematography Podcast 2025-08-25 | Adolescence DOP Matt Lewis on how every single one shot in the show was carefully choreographed.Listen/watch the full episode! youtu.be/Lo4RsjPsXHo@mattlewisfilm @netflix #Adolescence #adolescencenetflix #tv #tvdrama #netflix #emmynominations @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
Art of the one shot: Adolescence cinematographer Matt Lewis The Cinematography Podcast 2025-08-21 | The Cinematography Podcast Episode 321: Cinematographer Matt LewisIn the limited Netflix series Adolescence, each episode unfolds as a single, uninterrupted take, a cinematic choice that immediately immerses viewers in the unfolding drama. This ambitious format was a deliberate artistic choice. Both cinematographer Matt Lewis and series director Philip Barantini had previously collaborated on the independent feature Boiling Point, which also followed the one-shot format. This shared experience allowed them to bring a unique intensity and almost voyeuristic quality to the new series.The decision to film Adolescence in one continuous shot was a massive undertaking that required meticulous planning, from the writing stage to the final take. The series’ writers, Jack Thorne and Stephen Graham, crafted the script with this format in mind, allowing the story to flow seamlessly from one character to the next. The crew and cast treated each hour-long episode like a live theatrical performance, knowing that any mistake would require a complete reset. For Matt, the process was similar to choreographing a dance. The cast and crew had about 2 attempts per day to get each hour long episode right. Matt chose a single, lightweight DJI Ronin 4D camera that was passed between operators and even mounted on a drone for one episode, emphasizing the camera’s fluid, continuous motion.To navigate the complex, unbroken shots, Matt relied on detailed preparation and his extensive experience. He used the application Shot Designer to meticulously map out the camera’s path, memorizing specific lines of dialogue as cues for each movement. Fortunately, the cast and crew had two weeks of rehearsals. Matt used his phone to shoot the rehearsal for reference, in order to plan the camera’s route and see what would work. The lighting was also an integral part of this intricate choreography. Every fixture was practically built into the set and controlled in sync with the camera’s journey through the scene.The one-shot format in Adolescence ultimately served the story, creating a powerful and intimate viewing experience. By stripping away the ability to cut, Matt and the team were able to focus entirely on the narrative, allowing the raw energy and palpable tension of the set to translate directly to the screen.Find Matt Lewis: Instagram: @mattlewisfilmMatt Lewis is Emmy-nominated for episode 2 of Adolescence.See Adolescence on Netflix.SHOW RUNDOWN: 02:54 CLOSE FOCUSThe Academy of Motion Picture Arts and Sciences are considering new areas to honor for the Oscars SciTech Awards.6:23-45:08 INTERVIEW with Matt Lewis** See Show Notes at camnoir.com/ep321 for detailed TECH SPECS45:40 SHORT ENDSBen’s short end: Wondery was just bought by Amazon, leaving even less space for journalistic, longer-form podcasts like Serial.Illya’s short end: The Cinematography Mailing List (CML) is a great resource for cinematographers and others in the industry to share knowledge and engage in discussions about their industry. CML and Hot Rod Cameras recently teamed up to do a lens test- results coming soon!56:05 SHOW CREDITSHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Charlie Nix
Tucci In Italy cinematographer Matt Ball on working with Stanley Tucci & the joy of exploring Italy The Cinematography Podcast 2025-08-18 | Tucci In Italy cinematographer Matt Ball on working with Stanley Tucci and the joy of exploring Italy.Listen/watch the entire episode now: youtu.be/pXzBCRXZT9w@mattbcam @stanleytucci @saltproductionsofficial National Geographic #documentary #stanleytucci #TucciInItaly @natgeotv, @disneyplus @hulu #emmynominations @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
Cinematographer Christopher Ross, BSC describes creating the opening oner for The Day of the Jackal The Cinematography Podcast 2025-08-18 | Cinematographer Christopher Ross, BSC describes creating the opening oner for The Day of the JackalListen/watch the entire episode: youtu.be/TsQs48ZuUOQ@edjibevel @peacock @ebcoms @bsc #TheDayOfTheJackal #spy #assassin #emmynominations @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #tvshow #filmpodcast #cinematographypodcast
Cinematographer Matt Ball’s recipe for Tucci in Italy The Cinematography Podcast 2025-08-13 | For cinematographer Matt Ball, shooting the National Geographic five part documentary series Tucci in Italy was a delightful experience. Tucci in Italy follows actor Stanley Tucci as he explores his Italian heritage, delving into regions rich in food and culture. As a light-hearted, fun and engaging host, Tucci’s fluency in Italian and passion for the culture drove him to explore lesser-known stories, foods, and areas of Italy. While Stanley Tucci himself didn’t need a translator, the crew needed a little help. A translator spoke into an earpiece so the crew could follow the story closely and know what to capture. Matt used four cameras and a drone to capture the beauty of the region. To avoid asking subjects to repeat actions, one camera was always dedicated to shooting the food.Scouting and pre-planning was key for the vision Matt had for the look of the show. Tucci in Italy is beautifully composed, without feeling formal, and uses very natural lighting. The most important goal was to make the interviewees feel at ease, with the cameras staying as unobtrusive as possible. At each location, Matt and the director would take about 30 minutes to walk through the location to find the best spots for interviews, without compromising the story or the documentary nature. Even if it meant shooting in a tiny, dark kitchen, the crew would do so to ensure the authenticity of the documentary. The hardest part of the job was often the heat, as much of the work was outdoors and shot handheld.Find Matt Ball: Instagram: @mattbcamMatt Ball has been nominated for Outstanding Cinematography for a Nonfiction Program for Tucci in Italy for the “Tuscany” episode.See Tucci in Italy on Nat Geo on Disney+. The series has been renewed for a second season.SHOW RUNDOWN:00:01:11 CLOSE FOCUS Park Chan-Wook and Don McKellar, creators of The Sympathizer on HBO, were expelled from the Writer’s Guild for working during the writer’s strike in 2023.00:06:14 INTERVIEW with Matt Ball*See Show Notes at camnoir.com/ep320 for detailed TECH SPECS00:45:53 SPONSOR AD: Aputure Lighting- The Aputure MC Light, available for purchase at Hot Rod Cameras. 00:48:50 SHORT ENDSBen’s short end: The movie Weapons, which is in theaters now.Illya’s short end: The new series, Alien: Earth on F/X Hulu.00:53:54 SHOW CREDITSPodcast Credits:Host: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasProducer: Alana KodeAll web and social media content written by Alana KodeComposer: Kays Al-AtrakchiCheck out Kays' new YouTube Channel, Kays Labs, where he repairs old synthesizers.Editor: Charlie Nix
Art of Deception: DP Christopher Ross, The Day of the Jackal The Cinematography Podcast 2025-08-08 | The Peacock series The Day of the Jackal, a modern update of the film and novel, is an exhilarating cat-and-mouse thriller. It follows a charismatic, lethal assassin known only as the Jackal (Eddie Redmayne) and the determined MI6 agent, Bianca Pullman (Lashana Lynch), who is on his trail. Cinematographer Christopher Ross, BSC, has earned an Emmy nomination for the show’s first episode. He collaborated with director Brian Kirk to craft the series’ distinctive visual language.Chris and Kirk wanted to transform the 1970s source material into a contemporary, slick thriller centered on deception. To visually convey this subjective reality, Chris used a range of cinematic techniques, including lens aberrations, smoke filters, and a blend of precise and unpredictable camera movement. “If you know how you want your audience to feel, then you can reverse engineer the imagery to force that emotion,” Chris says. His approach leans toward a more chaotic and naturalistic style rather than a traditionally elevated, polished look.A central challenge was to make the audience feel connected to both the Jackal and Bianca, a narrative where the roles of “cat” and “mouse” constantly shift. Chris explains, “How do we make a modern slick thriller with a dual protagonist, a cat and mouse drama where the cat and the mouse change places? We wanted the imagery to be playful and light-footed, like a magic trick, and to not necessarily be instantly decipherable.” Chris drew inspiration from 1970s thrillers such as Klute, The Parallax View, and Three Days of the Condor to inform the show’s visual style. ARRI ALPHA anamorphic lenses created a wide frame for a strong sense of connection with the characters. He customized the lenses to produce an exaggerated square bokeh around the frame. It symbolized the compartmentalization within the characters’ lives, reinforcing the theme of hidden realities.The Emmy-nominated first episode features a complex, two-minute opening shot—or “oner”—that required extensive preparation. Chris and Kirk meticulously planned the scene to capture all the essential details as the camera follows the Jackal through an apartment. During the shoot, the production team performed a synchronized dance of moving doors and walls, all timed with Redmayne’s performance.“It was one of the best, most interesting oners that I’ve ever been fortunate enough to construct with a director,” says Chris. “The frame changes so often, the storytelling is as frequent as if you were editing.”Christopher Ross, BSC is also the President of the British Society of Cinematographers, an organization that promotes the art and craft of cinematography in the UK and internationally.See The Day of the Jackal on Peacock.Find Christopher Ross, BSC: Instagram @edjibevelHear our previous interview with Christopher Ross on the series Shōgun.
Cinematographer Michael Dallatorre on how they created the spinning shot around the car in Locked. The Cinematography Podcast 2025-08-04 | Cinematographer Michael Dallatorre on how they created the spinning shot around the car in Locked. Listen/Watch the full episode! youtu.be/o04IxXWC0LQ@dp_miked @billskarsgard_ @anthonyhopkins @davidyarovesky #lockedmovie @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Michael Dallatorre: creating claustrophobia in Locked The Cinematography Podcast 2025-07-17 | The Cinematography Podcast Episode 318: Michael DallatorreIn the film Locked, cinematographer Michael Dallatorre faced a unique challenge: how to make a story primarily set inside a luxury SUV visually compelling. The plot follows small-time criminal Eddie (Bill Skarsgård) as he breaks into a high-tech vehicle, only to find himself trapped in an elaborate psychological game orchestrated by the car’s vengeful owner, William (Anthony Hopkins).Mike collaborated closely with director David Yarovesky, aiming for intentional camera work that would immerse the audience inside the enclosed space without resorting to distorted wide-angle lenses. Together with Dan Sasaki at Panavision, they developed a custom anamorphic lens that could focus within 14 inches of the subject, as well as specialized probe and periscope lenses. These tools were crucial for capturing intimate shots within the car’s tight interior.One of the movie’s most memorable sequences is a 360-degree spinning shot around the car as Eddie is first locked inside. To execute this complex shot, Mike worked with production designer Grant Armstrong, who engineered a vehicle with flyaway side panels that could slide off on tracks as the camera circled.Before filming, the team rehearsed with Bill Skarsgård in a rental SUV to nail down the character’s movements. For the camera choreography, Mike created a model in Unreal Engine, a 3D creation tool, to build a previs of the sequence. This allowed him to demonstrate their plans to Yarovesky and the producers. After perfecting the camera rigging and movements, they dedicated an entire day to choreographing and shooting the scene. “It’s definitely one of my proudest shots,” Mike says. “From inception to full execution and everything, it’s just so cool to be able to do something like that, and then it happens.”While much of Locked was shot on a set, not all effects relied on green screens. On-location scenes were incorporated when essential to the script, and driving shots were achieved using a process trailer. During pre-production, Mike and Yarovesky carefully determined the importance of physical locations for each scene. If a real-world setting wasn’t crucial to the narrative, Yarovesky opted for the soundstage, a decision often driven by the film’s independent budget. “We shot about five days at a parking lot,” Mike explains. “We shot pieces of scenes, and I had my light meter and I measured. Scene 45, the sun’s at this position. Here’s the temp. Here’s the intensity from the fill side. Here’s the intensity from the negative side. And then I could recreate that on set.”To make the set feel less like a constant green screen environment, they embraced older filmmaking techniques. Production designer Armstrong created realistic printed backdrops, both cycloramas and translights, which were placed outside the car windows. The integration into the set ensured that the green screen shots appeared seamless and natural.If you’re interested in exploring Unreal Engine, Mike suggests trying a plugin for Unreal by Matt Workman called Cine Designer.Locked is available to purchase on VOD.Find Michael Dallatorre: Instagram: @dpmikedHear our previous interviews with Mike Dallatorre
Cinematographer Mihai Mălaimare Jr. on Megalopolis and working with Francis Ford Coppola. The Cinematography Podcast 2025-07-11 | Cinematographer Mihai Mălaimare Jr. on Megalopolis and his decades of working with Francis Ford Coppola. Listen/Watch the entire episode! youtu.be/FTWXm1H6qXw@malaimarejr_cinematography #mihaimalaimarejr @megalopolisfilm #Megalopolis #francisfordcoppola @francisfordcoppola #ontour @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Mihai Mălaimare Jr.: creating poetic reality in Megalopolis The Cinematography Podcast 2025-07-10 | For cinematographer Mihai Mălaimare Jr., ASC, his work with director Francis Ford Coppola from Youth Without Youth to Megalopolis has been a journey of constant education and evolution. Coppola, known for embracing new technology and a dynamic, on-set creative process, frequently pivots to explore fresh ideas in the moment.Megalopolis is Mihai’s fifth collaboration with Coppola. Their partnership began when Coppola came to Romania to shoot Youth Without Youth and scout some locations for Megalopolis. Mihai recalls first encountering Coppola’s “crazy ideas.” “I was like, yeah, that’s crazy, but I’m 29, fresh out of film school and I’m working with Francis, so I better do it. And then you realize how much better the scene gets.” This relationship fostered a unique trust. “Little by little, we got in this interesting dynamic where I’m craving those moments. And I know it can be a really stressful situation when you prep, all of a sudden you change it 180 degrees. But I know that somehow we’ll be able to find a solution and it will be better than anything we planned. And it’s interesting- every single time, the scene got better.”Coppola had been developing his ideas for Megalopolis for decades, and shot test footage in 2001 with director/cinematographer Ron Fricke. He sought an ethereal, “poetic reality” with no specific timeframe, a concept Mihai initially found challenging to prepare for. However, the early footage provided crucial visual cues, and some of it was later integrated into the film. Coppola also collaborated with visual concept designer Dean Sherriff, who created a set of art keyframes for specific scenes, which guided Mihai’s framing, shots, colors, and lighting. A gold and sepia color scheme added to the film’s ethereal look. “It’s such an amazing process of discovery with Francis,” says Mihai. “We did some storyboards, but very few. We never really shot listed. We were talking about things in general, but the idea is that when you go on set, and you have the actors, and you have sets and costumes and everything, you want to let yourself be inspired by the actors and the blocking more than just your plans and ideas.”While major scenes in Megalopolis were filmed on an LED volume stage, the movie creatively blends VFX, practical effects, and in-camera techniques. For a beautiful dreamlike driving sequence, Mihai used poor man’s process for the car interiors, combining it with moving set pieces, miniature cars, and live actors dressed as statues.Coppola’s long-standing admiration for the minimalist style of filmmaker Yasujirō Ozu influenced a preference for static camera work, with minimal dolly shots, tilts, or pans. “It’s all about the frozen frame,” Mihai explains. “It’s a certain aesthetic that I like, because it’s closer to still photography. There are things that are happening that you don’t think of. First, you have to make sure that the composition is really spot on. And also, it’s again the idea of contrast. When you do move the camera, that better be for a good reason.”Find Mihai Mălaimare Jr.: Instagram:@malaimarejr_cinematography @malaimarejr_photographyHear our previous interviews with Mihai Mălaimare Jr.Megalopolis will be on tour in select theaters starting July 20 with Francis Ford Coppola doing a Q&A after.
DP Adam Newport-Berra on capturing the dynamic movement and anxiety in The Studio. The Cinematography Podcast 2025-06-27 | DP Adam Newport-Berra on capturing the dynamic movement and anxiety in The Studio.LISTEN/WATCH the entire episode: youtu.be/xIU50LKZ8W4@adamnewportberra #TheStudio #TheStudioAppleTV @appletv #comedy #filmindustry #moviestudio #production @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Adam Newport-Berra on capturing chaos in The Studio The Cinematography Podcast 2025-06-26 | The Studio creators Seth Rogen and Evan Goldberg exploited every part of their knowledge and experience in the film industry to find the show’s humor. Cinematographer Adam Newport-Berra worked closely with Rogen and Goldberg to achieve the show’s signature style. They found the most dynamic ways to shoot scenes, with camera movements that immerse the audience in the characters’ anxiety and panic. “It meant moving with the characters, moving through spaces, and finding ways to just keep the momentum of a scene going,” Adam explains. “We made very strong decisions early in the process. We’re only gonna shoot with one camera, we’re gonna shoot every scene in one shot, we’re gonna shoot with one lens. It funnels down your choices and your options on set in a way that I think is really special. I think we make the most creative decisions when we’re limited.”The Studio relies on nimble, handheld camera work on gimbals and magnetic rigs for its many one-shot takes. The crew avoided over-intellectualizing each scene, prioritizing a dynamic feel and incorporating homages to numerous films. “I think a lot of it really came down to the writing and the material,” says Adam. “Seth and Evan are very smart. They’ve been doing this for a long time. They know what they like and they leaned into that in the writing.”While a script provided the foundation, many scenes were reworked on set. Rogen and Goldberg would collaborate with the actors to refine the rhythm and enhance the material. Actors frequently contributed lines and ideas, leading to on-the-spot script revisions. However, improvisation had to fit into the impeccable timing for both the acting and camera work, leaving little room for error. Some shots required 20 takes, with the initial few serving as warmups. “It was a very non-traditional way to make a show,” Adam notes, “but everyone’s firing on all cylinders, everyone’s bringing 100 percent.”Rather than creating traditional shot lists, Rogen and Goldberg would work out complex camera moves with the crew directly on location. Often, they’d envision a desired shot and then structure the scene to organically lead to it. The crew and actors would block and rehearse scenes together and separately, allowing the story to unfold naturally.For a show as dynamic as The Studio, Adam learned to keep the lighting as simple as possible. The lighting had to take a backseat to the camera movement, so typically, every episode relied on natural light. Adam trusted in modern camera sensor technology and the colorist to ensure the actors looked their best. But he did have opportunities to experiment with light and shadow in specific episodes, such as “The Missing Reel,” which embraced a film noir look, and “The Golden Globes,” which used stage lighting and uplighting on the tables.“I think what works about this show was the fact that it does skewer itself, it is self-deprecating, it does show how absurd our life is and it was kind of refreshing to be able to talk about that publicly,” says Adam. “A lot of the people in my life don’t understand what I do, so it’s been fun to tell these stories and to show how absurd our profession is, the conflict between art and commerce, and how much we care about it.”Find Adam Newport-Berra: Instagram: @adamnewportberra
Christophe Nuyens, SBC on how he crafted the kinetic wedding dance scene in Andor Season 2. The Cinematography Podcast 2025-06-20 | Christophe Nuyens, SBC on how he crafted the kinetic wedding dance scene in Andor Season 2. LISTEN/WATCH the entire episode: youtu.be/sScGYgJM3Zg@christophenuyens @andorofficial #andor #AndorSeason2 #StarWars #RogueOne #DisneyPlus #space #scifi #rebels @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
DP Luke Cormack on using verité techniques to find moments of magic in David Blaine: Do Not Attempt. The Cinematography Podcast 2025-06-20 | DP Luke Cormack on using verité techniques to find moments of magic in David Blaine: Do Not Attempt. Listen/watch the full episode: youtu.be/y-DPO1GBrNc@luke_cormack @natgeo @davidblaine @hulu @disney+ #donotattempt #davidblaine #DisneyPlus #hulu #magic #travel #realmagic #documentary #reality #verite @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Cinematographer Kim Ji-yong on creating a color story throughout Squid Game Season 2. The Cinematography Podcast 2025-06-20 | Cinematographer Kim Ji-yong on creating a color story to heighten the drama throughout Squid Game Season 2.Listen/watch the full episode: youtu.be/RsDpajiQkHI#KimJiYong @Netflix @SquidGameNetflix #SquidGame #SquidGameSeason2 #SquidGameSeason3 @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Stephen Murphy, BSC ISC on creatively working with darkness in Say Nothing. The Cinematography Podcast 2025-06-20 | Stephen Murphy, BSC ISC on creatively working with darkness in Say Nothing. Listen/watch the entire episode! youtu.be/X0brcfeU6G0@stephenmurphybsc #StephenMurphy #SayNothingFX #SayNothing @fx @hulu @ebcoms #thetroubles #IRA #Ireland @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Color, light and menace: DP Kim Ji-yong, Squid Game season 2 The Cinematography Podcast 2025-06-19 | As a huge fan of the original Squid Game, cinematographer Kim Ji-yong jumped at the opportunity to shape the visual language for the show’s second and third seasons. Ji-yong has masterfully evolved the show’s aesthetic, continuing to play with jarring camera perspectives. He uses disorienting low angles looking up and god-like high angles looking down to immerse the viewer in the drama. For him, color and light are the key to unlocking the show’s central theme: the tension between childlike innocence and deadly menace.Squid Game Season 2 follows the first season’s winner, Seong Gi-hun, as he seeks revenge and tries to uncover the mystery behind the games. In the first episode, Gi-hun and his friends chase a recruiter through a subway and a park, a pursuit that ends in a tense game of Russian roulette. For this pivotal scene, Ji-yong wanted a look that was both realistic and expressionistic. He bathed the game in the glow of a red neon light from a nearby window, establishing a color motif that would echo throughout the season.This powerful visual cue returns in other key episodes, most notably in a harrowing new voting scene where the players must once again decide their own fate. “When our main actor is facing a moment of choice, a moment of making a decision, I wanted to bring that red and blue light every time they faced that situation, just like earlier in the Russian roulette game,” Ji-yong explains.The sheer scale of the sets presented unique lighting challenges, particularly the massive, white-walled dorm room filled with hundreds of extras. “I tried to cut off the spill to the white walls as much as I could,” Ji-yong says. “We also had stacks of beds so I could use some shadowy areas, so we had a little variety on the set.” All the room’s illumination came from a lighting grid above, making it feel as oppressive and controlled as the games themselves, which also served the actors. “I want them to feel as if they’re actually playing this game,” he notes.To capture the chaos, Ji-yong relied on an intimate two-camera setup. One camera stayed close, capturing the raw emotion on the characters’ faces, while the other—often handheld—followed the action from the perspective of a frantic player. Though each episode was meticulously storyboarded and shot over 12 to 15 days, he finalized camera positions after blocking each scene, trusting his intuition to find the most impactful angles.Ji-yong embraced the vibrant, candy-colored sets, finding creative energy in the contrast between their playful hues and the brutal violence of the games. He worked closely with the production designer, running camera tests to find the perfect shade of pink that would pop on screen. While not typically a fan of modern LED RGB lights, he found them essential for this project. The results are unforgettable, especially in the strobing, kaleidoscopic lighting of the “Mingle Game” featuring a carousel. “I have never used this much color in my career,” he laughs.The Cinematography Podcast website: www.camnoir.comYouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.social
Luke Cormacks unseen magic on David Blaine: Do Not Attempt The Cinematography Podcast 2025-06-13 | For cinematographer Luke Cormack, filming the National Geographic series David Blaine: Do Not Attempt was an exercise in capturing the raw, unscripted moments of human connection and extraordinary feats. Luke leaned into his experience as a wildlife documentarian to patiently wait for the perfect, instinctual moments to unfold. The goal was not to capture polished performances, but the raw, visceral reactions from Blaine and the people he encountered on his global journey. “David’s not an actor or a host. We would have to create these ‘biospheres of spontaneity.’ So he can just get in there and be his most genuine self without you ever saying, ‘Oh, stop, David. Can you do that again?’ That just doesn’t work at all,” says Luke. “You have to constantly be looking for those little pieces of magic and those pieces of magic are usually when you’re setting something up or your eye isn’t on the ball.”David Blaine: Do Not Attempt is not about magic, but about finding people in cultures around the world who perform real, extraordinary feats that look like magic. The series follows Blaine as he travels to nine countries, including Brazil, India, and Japan, and learns about their unique skills, lifting the veil behind those tricks. For the documentary crew, capturing this “magic” required a dedication to true verité techniques. This involved location scouting to determine optimal camera placements that would feel both intimate and unobtrusive. The producers also prepared the local performers for Blaine’s arrival, allowing for natural, unscripted interactions.Luke’s strategy often involved a subtle deception. He would keep the cameras rolling long after a scene appeared to have wrapped, patiently waiting for the “in-between moments” that often yielded the most candid footage. “That true verité, I feel like that’s where we got all our nuggets. We’d often put everyone at ease as you actually pretend to stop filming,” he says. “When everyone thinks you’ve got the scene, you just keep rolling. And you kind of look away from the viewfinder a little bit, maybe relax your body language, and that’s usually when he’ll turn around and say something amazing.”This philosophy of patient observation required the camera crew to be constantly vigilant, nimble, and able to blend into the background. The use of lower-profile Ronin 4D cameras was key to allowing the crew to navigate large crowds without drawing attention. To elevate the visual storytelling, Luke chose high-end prime and zoom lenses. He hired special crews for high-stakes sequences, such as filming with sharks underwater in South Africa or skydiving in the Arctic Circle.The crew’s collaboration was often wordless, staying present and dedicated to capturing authentic interactions. They relied almost exclusively on natural light, repositioning themselves to find the most flattering illumination rather than directing the subjects. The unpredictable nature of Blaine’s performances in public spaces also meant that the crew had to be prepared for anything. “We traveled to nine different countries and a lot of it is crowd control,” Luke explains. “Like once you blow someone’s mind and they’re standing there with a group of 10, it becomes a group of 50 very quickly. And then you’re trying to get your shots and get in there and try and get the magic of it. But the whole time, you still have to keep your head on a swivel, have an exit strategy, realize that crowds can get dangerous really quickly, depending on where you are.”This constant state of readiness, combined with a commitment to capturing authentic, unrehearsed moments, allowed Luke and his team to document the genuine wonder, fear, and awe that defines David Blaine: Do Not Attempt.Find Luke Cormack: Instagram: luke_cormack
Christophe Nuyens on crafting the world of Andor: Season 2 The Cinematography Podcast 2025-06-05 | A huge admirer of the Star Wars movie Rogue One, cinematographer Christophe Nuyens, SBC embraced the opportunity to serve as director of photography for the first six episodes of Andor Season 2. Christophe focused on expanding Andor’s universe, meticulously crafting distinct visual identities for each world. He leaned into naturalistic lighting and a dynamic use of color to evoke a range of moods. “This show has so many different worlds and sets and every world has a different look,” he says. “Mina-rau was sunny, Chandrila was quite shiny and chic. Then you had Ghorman, which was darker and like a town in the mountains with blue light all the time. So we had all our different sets and it was really nice to play with those things to create all those little different moods.”Christophe was committed to giving the world of Andor a tangible sense of reality. The sets were expansive, with ample room for the camera to move around and explore. Practical effects were used when possible to enhance authenticity, complemented by the strategic use of LED video wall panels for realistic backdrops, such as the depiction of rain falling outside a Coruscant apartment window. Christophe approached the lighting design as if shooting on location. In collaboration with director Ariel Kleiman, he adopted a philosophy of minimal camera movement, completing scenes with few shots and concise coverage. Subtle lighting cues, lens flares and camera moves smoothly transitioned each scene into the next.One of the most memorable sequences in Andor Season 2 is the wedding of characters Leida Mothma and Stekan Sculdun. The event is not just a lavish affair but a crucial narrative beat in Mon Mothma’s (Genevieve O’Reilly) journey, underpinning a complex emotional and political storyline. Following the ceremony, guests dance together in a huge celebration, a sequence that presented a unique and enjoyable challenge for Christophe. He wanted to capture a nightclub atmosphere despite the daytime setting. “I end up with the idea of trying to tell a time-lapse story light-wise,” he explains. “In the beginning of the wedding, the sun is quite high. It’s bright outside the during the wedding. The sun is going lower and lower and lower, until the end when the sun is just on the horizon peeping inside and making it super flare-y. We didn’t have strobes or party lights, but it gave us something special to play with.” The intricate dance sequence, featuring numerous extras and two Steadicams weaving through the celebration to reflect Mon Mothma’s disorienting experience, required a full day of filming. (For dedicated Andor fans, an extended one-hour version of this captivating dance scene is available to watch on YouTube.)Educated at film school in Brussels, Christophe knew early on that cinematography was his calling. He values continuous learning as a cinematographer. “It’s important for me to keep evolving because the moment that I feel I’m doing something as a routine, then I want to do something else. I need to have the feeling that I’m learning every time and every director is different.”Find Christophe Nuyens: Instagram: @christophenuyensHear our previous interview with Grieg Fraser on Rogue One.
The Last of Us Season 2 DP Catherine Golschmidt on using the video game as a reference for the show The Cinematography Podcast 2025-05-30 | The Last of Us Season 2 DP Catherine Golschmidt on using the video game as a reference for the show.Listen/watch the full episode: youtu.be/JAc_kAoyzvw@ksiniasereda @cgdop @thelastofus @hbomax #thelastofus #TheLastOfUsSeason2 #postapocalyptic #drama #tragedy #pedropascal #bellaramsey @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
The Last of Us DP Ksenia Sereda on creating the visual language of Season 2. The Cinematography Podcast 2025-05-30 | The Last of Us DP Ksenia Sereda on creating the visual language of Season 2. LISTEN/WATCH the full episode: youtu.be/JAc_kAoyzvw@ksiniasereda @cgdop @thelastofus @hbomax #thelastofus #TheLastOfUsSeason2 #postapocalyptic #drama #tragedy #pedropascal #bellaramsey @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
The Last of Us Season 2 DPs Ksenia Sereda & Catherine Goldschmidt The Cinematography Podcast 2025-05-29 | Season 2 of HBO’s acclaimed series The Last of Us sees a shift not only in its narrative focus but also behind the camera, with cinematographers Ksenia Sereda and Catherine Goldschmidt, ASC, BSC, taking the visual reins. The season quickly evolves from Joel and Ellie’s shared journey into a harrowing exploration of Ellie’s relentless pursuit of revenge following Joel’s brutal death. This quest is deeply colored by her grief and rage, yet intricately woven with a burgeoning love story between her and Dina.Ksenia, returning after her work on the celebrated first season, and Catherine, a new addition to the team, split cinematography duties. Ksenia helmed episodes 1, 3, 5, and 6, while Catherine was responsible for episodes 2, 4, and 7.The opportunity to continue collaborating with showrunners Craig Mazin and Neil Druckmann was a welcome one for Ksenia. “For season 2, we wanted to push the look forward with how the characters develop,” she explains. “Not to reinvent the visual language but to think, what can we do better to help the characters and to tell the story, because it’s such a character-centered show. The main focus of it is following the characters you love and joining them on this big adventure.”Ksenia developed a lookbook to maintain a holistic visual language, ensuring consistency across multiple directors and the entire crew. The video game The Last of Us was the blueprint for a distinct visual identity. It was important to preserve all the iconic visuals from the game, but unlike the video game, the television adaptation allowed for more character development and connection, with longer shots.Season 2 introduces a host of new characters, storylines, and diverse color environments. Ksenia consciously avoided overly cool tones, opting for warmer colors, particularly for Ellie and Dina, to help the audience fall in love with them as their relationship develops. This warmth is also seen in the homey settlement of Jackson, a sanctuary carved out to evoke a sense of normalcy. In contrast, when Dina and Ellie journey to Seattle, the environment becomes green and lush.Catherine Goldschmidt, ASC, BSC, stepped into this established world for Season 2. Her inaugural week plunged her directly into shooting the pivotal and harrowing Episode 2, which features Joel’s death. Catherine reviewed the corresponding cutscene from the game, treating it as a form of previsualization or storyboard, and then determined how to adapt it for television. “The video game acts as a reference, and there are some scenes in the scripts that are taken from the games, and there are some scenes that don’t exist and are new,” she says. “It’s about serving the show first and foremost, and still paying homage to the game.” Catherine also focused on grounding the lighting in realism, finding real world motivation for light sources that would authentically be available to characters in a post-apocalyptic setting. At times, she notes, “the lighting cues were even written into the script.”For Episode 2, with its intense violence, Catherine knew the crew had to prioritize the actors’ performances, and respect the scenes that the actors wanted to shoot first. But most violent, brutal, and scary scenes in The Last of Us are balanced by moments of profound humanity, requiring careful attention to the characters’ emotional journeys. “I remember asking Craig and Neil, how are you guys planning to tackle that extreme violence?” Catherine recalls. “Craig just said, ‘Well we’re always trying to counterbalance it, it should always be a light and shade scenario.’”Hear our previous interview with Catherine Goldschmidt on House of the Dragon.Find Ksinia Sereda: Instagram: @ksiniaseredaFind Catherine Goldschmidt: Instagram: @cgdop
Cinematographer Jacques Jouffret, ASC on bringing visceral reality to American Primeval. The Cinematography Podcast 2025-05-23 | Cinematographer Jacques Jouffret, ASC on bringing visceral reality to the screen in American Primeval. LISTEN/WATCH the full episode: youtu.be/zI4rCOUPpfQ#AmericanPrimeval #Netflix #JacquesJouffret #western #gritty #winter #frontier #violence #longlens #wideangle #dutchangle @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
American Primeval Cinematographer Jacques Jouffret, ASC on the feel of the show The Cinematography Podcast 2025-05-23 | American Primeval Cinematographer Jacques Jouffret, ASC on making the period Western feel dirty, dangerous and cold. LISTEN/WATCH the full episode: youtu.be/zI4rCOUPpfQ#AmericanPrimeval #Netflix #JacquesJouffret #western #gritty #winter #frontier #violence #longlens #wideangle #dutchangle @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Jacques Jouffret, ASC: American Primeval’s frigid frontier The Cinematography Podcast 2025-05-22 | Netflix’s American Primeval plunges viewers into the harsh realities of a gritty, naturalistic Western winter. Cinematographer Jacques Jouffret, ASC, who shot all six episodes, collaborated closely with director Peter Berg to immerse the audience in the era’s unforgiving environment. “That was really a lot of hard work. Pete wanted the audience to feel the difficulty of living in that period,” says Jacques. “He wanted to feel the dirt, dust, grime and the ugliness of it and the violence of it. And I tried to get into that spirit. My job was to really make the audience feel that coldness, the chill that you are open to the elements.”Jacques wanted the audience to feel the cold of American Primeval’s harsh winter setting, even as the production continued into summer. One of the most significant challenges was maintaining a consistently overcast sky, and there were few interior locations. During the wintertime, it was easy to shoot wider to get the overcast sky, but the weather was constantly changing. Dutch angles worked not only as a stylistic choice, but also to help hide the sky when it wasn’t overcast enough. The crew would strategically shoot close, shoot in the shade, or block the sky with silks.Portraying visceral realism is an important element of Jacques and Berg’s collaborations. They have worked together before on films such as Novocaine and Mile 22. “That’s one thing that I love working with Pete,” he shares. “You’re making the audience feel that this is real, you are watching something that is right there and I’m able to suspend that disbelief. And so that’s really always the approach, to make it as real as we can. And yet I’m giving it some style to present more of the emotion, more of the mood, the atmosphere, and where I want the audience to be.”To achieve a blend of raw reality and stylistic emotional depth on American Primeval, Jacques adopted a focused visual strategy, inspired by the legendary director Stanley Kubrick. Kubrick would choose just four or five strong visual ideas, and then repeat them over and over for visual impact. For the series, Jacques established his own core visual tenets:Expansive vistas: Super wide shots to take in the vastness of the Western sceneryDynamic dutch angles: Wide and close dutch camera angles to increase the feeling of discomfort and danger, while still including visuals critical to the storyIntimate compression: Lenses with long focal lengths that compress the image, allowing the audience to be with the character in the momentJuxtaposition of extremes: A deliberate contrast between wide, long shots with everything in focus, contrasted with close-ups on the actors with a wide angle lens. This created a visual language emphasizing the harsh environment, and Jacques avoided medium shots.
Cinematographer Baz Irvine, BSC, ISC on the hierarchy between levels of the silo in Silo Season 2. The Cinematography Podcast 2025-05-16 | Cinematographer Baz Irvine, BSC, ISC on the hierarchy between levels of the silo in Silo Season 2.LISTEN/WATCH the full episode: youtu.be/xGZF-h01ZlQ@baz.irvine.dop @appletv #silo #SiloAppleTV #scifi #drama #postapocalyptic #bazirvine @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Cinematographer Baz Irvine, BSC, ISC on creating the lighting for Silo Season 2. The Cinematography Podcast 2025-05-16 | Cinematographer Baz Irvine, BSC, ISC on creating the lighting for Silo Season 2. LISTEN/WATCH the full episode: youtu.be/xGZF-h01ZlQ@baz.irvine.dop @appletv #silo #SiloAppleTV #scifi #drama #postapocalyptic #bazirvine @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Descent into darkness: Baz Irvine on Silo Season 2 The Cinematography Podcast 2025-05-15 | The second season of Silo on Apple TV+ is a dramatic visual departure from its predecessor, and cinematographer Baz Irvine, BSC, ISC is at the helm of this transformation. From the very first episode, as Juliette (Rebecca Ferguson) ventures into the seemingly deserted Silo 17, viewers are plunged into a progressively darker and more uncertain world. “I think the biggest challenge for Silo 17 was that, at first, it had to appear to be lifeless, but it wasn’t,” explains Baz. “It had to feel familiar but different; it had to definitely feel slightly terrifying. When I read the script, it said very specifically the whole silo was in darkness. Of course, there are different types of darkness. Movie darkness is very different from real darkness.”Establishing the distinct look of the shut-down silo was very important. Baz and the production team wanted a more realistic and immersive experience in Season 2, as if viewers were right there alongside the characters. Their vision included creating a culturally distinct look for Silo 17 compared to Juliette’s home, Silo 18, incorporating colorful murals and varied textures now falling into decay. As nature reclaims the failing structure, emergency lighting flickers throughout, casting an eerie greenish glow from beneath encroaching moss and vegetation.Lighting Juliette’s perilous journey was a key consideration. Baz conducted numerous lighting tests, and was able to request that Juliette find a functional flashlight in the script. He knew it was important to keep Ferguson’s face illuminated amidst the gloom. “There’s no way I’m gonna put Rebecca Ferguson through corridors and stairwells without having some detail on her face,” he commented. Baz used a range of lighting techniques, including balloons, silk, and a specially crafted soft pipelight wrapped in muslin for gentle top lighting, which added a subtle glow to her skin and a vital light to her eyes.The cinematography in Silo also serves as a visual metaphor for its rigid social hierarchy. Economics and politics in Silo is always from the top down, and both the lighting and camera movement on the show reflect this. In Silo 18, the upper levels are characterized by brighter lighting, benefiting from more access to what little sunlight penetrates the underground city. Tim Robbins’ character, Bernard, as the new mayor consolidating control, is consistently bathed in light.This hierarchy in Silo extends to camera movement as well. The down-deep sections of Silo 18 utilize handheld cameras for a grittier, more immediate feel, while the upper levels are depicted with more elegant, slower crane movements, reflecting the contrasting lifestyles and power dynamics. For Season 2, the camera department maintained the same camera bodies but opted for different lenses. Baz made the deliberate choice to move away from anamorphic lenses, selecting wider lenses that require minimal focus. He adds, “Because everything is vertical in Silo, the biggest challenge as a cinematographer was constantly keeping in mind what’s above and below the frame.”A significant and challenging new element for season 2 involved extensive underwater sequences. The crew constructed their own specialized tanks for filming. Baz considered using dry for wet techniques, simulating underwater conditions on a dry set, but it would be challenging and expensive to add special effects to make it look as though her hair was floating underwater. They did use another type of cinema magic to shoot the underwater sequences. “All of the vertical descents into the flooded silo were actually shot horizontally, with the camera turned sideways,” says Baz.Baz found shooting season 2 of Silo to be a great source of creative fulfillment, from crafting the aesthetic of Silo 17 and tackling the ambitious underwater scenes. “I’ve been really lucky that I’ve been doing my best work at a time when we have got such great productions in the UK,” he says.Find Baz Irvine: Instagram: @baz.irvine.dop @hasselbazHear our interview with cinematographer Mark Patton, BSC about Silo season 1.
Scott Siracusano’s inventive cinematography on Control Freak The Cinematography Podcast 2025-05-08 | The Hulu original horror film, Control Freak, plunges audiences into the unraveling world of Val (Kelly Marie Tran), a motivational speaker tormented by an unrelenting itch on the back of her head. Is it a manifestation of her own mind, or is she falling prey to a parasitic demon from her homeland? Control Freak is a body horror film that delves deep into themes of control, perfectionism, mental health, and generational trauma.Cinematographer Scott Siracusano has known Control Freak writer and director Shal Ngo since 2019. The two made a short, The Box, which went to the prestigious Cameraimage Film Festival in Poland. Their creative partnership continued on another short film, Control, for season two of Hulu’s Bite Size Halloween. When Ngo was invited to expand Control into a feature-length film, Control Freak was conceived. Scott was captivated by the script and eager for the creative challenges it presented. Unfortunately, the film hit several roadblocks and delays before shooting was finally greenlit by the network. As a first-time feature DP, Scott had to meet with producers and pitch himself as the best cinematographer for the film. Championed by Ngo, Scott meticulously prepared a lookbook and presented his scene-by-scene shooting strategy in an hour-long meeting, ultimately securing his role as the film’s cinematographer.One of the most significant cinematographic challenges on Control Freak was executing its underwater sequences. Due to a limited budget, there wasn’t enough time or money to shoot the actors in real tanks of water. Scott chose to use dry for wet film techniques, where smoke, specialized filters, and dynamic lighting effects are skillfully combined to simulate an underwater environment. Inspiration for this approach came from Dan Laustsen‘s masterful work in The Shape of Water. The biggest concern was creating realistic hair and body movement floating in water, so the actors’ hair was tied back for these scenes. The production team found a music performance space where they could build a wire rig, enabling the actors to “float.” For close ups, Scott found simply having the actors sit and move around on a yoga ball effectively created a floating effect. Two projectors helped simulate water patterns, and the room was filled with atmospheric haze. Subtle fill light and slight camera movements completed the effect. Ultimately, these practical in-camera effects were so successful that the film required minimal visual effects for its underwater scenes.The lighting and color palette of Control Freak were crucial in establishing a claustrophobic atmosphere and exploring the film’s central duality between sanity and madness. “We really wanted to lean into the surrealism and the dreamlike state of everything,” explains Scott. “Moonlight definitely allowed us a little bit more shaping, and being able to hide the monster. I really wanted to have rich, detailed shadows that were never true black—always some detail, no matter how dark the shadows.” Val’s house was intentionally kept as an enclosed space, with curtains constantly drawn, immersing the audience in her confinement and heightening their sense of being trapped alongside her.As a horror fan himself, Scott loved creating the look and feel of Control Freak.His takeaways from lensing his first feature included the importance of faithfully executing the director’s vision while remaining adaptable to the unpredictable nature of filmmaking. Find Scott Siracusano: Instagram: @scott_siracusanoCAMERAS: Alexa 35 & Alexa MiniLENSES: Cooke Speed PanchrosSPECIAL EQUIPMENT: Lensbaby, Snorricam, probe lens, 12x Angenieuz zoom, Ronin 2Close focus: Trump’s announcement of 100% tariffs on movies made overseas.Ben’s short end: The Surfer with Nicolas Cage is strange and surreal and has great cinematography.Illya’s short end: Illya recently visited The New Jersey Film Expo. New Jersey is quickly growing its film industry and offering tax incentives for film productions.Sponsored by Hot Rod CamerasCheck out the new Betty Luminous Reflector at Hot Rod Cameras!Sponsored by AputureSponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!Email: editor@camnoir.comFacebook:@cinepodInstagram: @thecinepodThreads: @thecinepodBlue Sky: @thecinepod.bsky.socialPodcast Credits:Producer: Alana KodeAll web and social media content written by Alana KodeHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasHost: Ben RockBlue Sky: @benrock.comInstagram: @bejamin_rockEditor: Charlie NixComposer: Kays Al-AtrakchiCheck out Kays’ new YouTube Channel, Kays Labs, where he repairs old synthesizers.
Severance cinematographer Jessica Lee Gagné on shooting on location for episode 4, Woes Hollow. The Cinematography Podcast 2025-05-03 | Severance cinematographer Jessica Lee Gagné on shooting on location for episode 4, "Woe's Hollow."LISTEN/WATCH the full episode: youtube.com/watch?v=bwGKg4BCATg&t=1388s@jessicaleegagne @severancetvseries @appletv #severance #severanceseason2 @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Jessica Lee Gagné on directing an episode of Severance for the first time The Cinematography Podcast 2025-05-02 | Jessica Lee Gagné on directing an episode of Severance for the first time.LISTEN/WATCH the full episode! youtube.com/watch?v=bwGKg4BCATg&t=1388s@jessicaleegagne @severancetvseries @appletv #severance #severanceseason2 @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #director #directing #tv #television #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Jessica Lee Gagné: Pushing Boundaries in Severance Season 2 The Cinematography Podcast 2025-05-01 | Cinematographer Jessica Lee Gagné is an essential creative force behind Severance on Apple TV+. She has an expanded role in the show’s second season with a producer credit and directs the pivotal episode 207, “Chikhai Bardo.” The series’ unique look and world-building is meticulously crafted through extensive testing and close collaboration between her and showrunner Ben Stiller, who also directs the majority of episodes.For Severance Season 2, Jessica embraced a darker aesthetic, intentionally tweaking the look from the previous season. Even within the artificial office environment of Lumon, she pursues a blend of natural realism and heightened visuals, favoring practical, in-camera effects whenever possible. Location shooting for the episodes “Woe’s Hollow” and “Sweet Vitriol” required flexibility due to changing weather conditions. Unexpected foggy weather worked in the crew’s favor while shooting “Woe’s Hollow” and enhanced the spooky atmosphere of Irving’s nightmare sequence.Inside the Lumon offices, lighting is pre-planned as part of the production design, with lights built into the ceiling and the set. Season 2 introduces more complex and colorful lighting cues compared to the first season, especially in the finale. Vibrant green and blue lighting creates a feeling of chaos during the “Choreography and Merriment” marching band performance, and intense red emergency lighting strobes down the halls as Mark and Helly attempt their escape. “Red is a color that we don’t use in the show in general,” notes Jessica. “You have this association with love, passion, intensity with the color red. And then in the final shot, we land in this deep red moment with them, that was transferred onto film in the end and rescanned to give it an actual authentic feel.”Jessica decided she wanted to direct for the first time on season two, despite feeling nervous about it. “This was something that I really deeply wanted,” she explains. “I realized that on this show with the crew that knew me, the cast that knew me, with Ben (Stiller) supporting me and the producers as well, that this opportunity would never come up for me again in my life. I really needed to just go for it and give it my all.” Jessica also was director of photography for the episode, since she felt so familiar with creating the show’s look. However, the dual role was challenging. There was no pausing for a separate director-DP discussion after takes, which meant turning to others for validation and support. Directing the cast was a rewarding experience and they welcomed her leadership. Jessica had extensive conversations with actress Dichen Lachman (Gemma) beforehand to explore her character’s emotional state and shifting personalities within the episode.A significant element of episode 207’s visual language involves sequences depicting Mark and Gemma’s past, which were captured on film. While Severance primarily uses digital cameras, Jessica opted for both 35mm and 16mm film for the flashback moments. Borrowing a Bolex camera from the gaffer, she and director Ben Stiller shot some of these intimate sequences between Mark and Gemma on the fly.Jessica is currently in the process of directing her first feature. She will always have a deep appreciation for cinematography. “I feel like I have so much respect for that craft,” she says. “After being in it for 15 years, I know what goes into it. I know how you have to be such a giving person to do that. And I really do love it so much.”You can see Severance on Apple TV+Find Jessica Lee Gagné: Instagram @jessicaleegagneClose focus: The saga of the Paramount-Skydance desired merger, Trump’s lawsuit against 60 Minutes and the resignation of executive producer Bill Owens. On the most recent 60 Minutes, the news show criticized Paramount for not standing up to Trump.Kays’s short end: The Rehearsal on Max, with comedian Nathan Fielder.Check out Kays’ new YouTube Channel, Kays Labs, where he repairs old synthesizers.Illya’s short end: The Smashing Machine, a forthcoming movie from A24 about a UFC fighter starring Dwayne Johnson and Emily Blunt.Sponsored by Hot Rod CamerasCheck out the new Betty Luminous Reflector at Hot Rod Cameras! The Betty Luminous is a full-spectrum light reflector designed to beautifully flatter human skin. Its fresnel-like directionality provides focused illumination while its gentle Gaussian falloff ensures a soft, natural look.Sponsored by ARRI: ARRI Impression V filters which attach to the rear of ARRI Signature Prime and Signature Zoom lenses to tweak the look. You can buy them at Hot Rod Cameras.Email: editor@camnoir.comFacebook:@cinepodInstagram: @thecinepodThreads: @thecinepodBlue Sky: @thecinepod.bsky.socialPodcast Credits:Producer: Alana KodeAll web and social media content written by Alana KodeHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasHost: Kays Al-AtrakchiEditor: Charlie NixComposer: Kays Al-Atrakchi
Adam Bricker, ASC on finding the distinctive look of Chefs Table on Netflix. The Cinematography Podcast 2025-04-25 | Adam Bricker, ASC on finding the distinctive look of Chef's Table on Netflix.Listen/watch the full interview: youtube.com/watch?v=hh_mQSQaT58&t=1614s@realadambricker #hacks #hackshbo #chefstable #chefstablenetflix #livepodcast @nabshow @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Adam Bricker, ASC on refining his shooting style on the HBOMax series, Hacks. The Cinematography Podcast 2025-04-25 | Adam Bricker, ASC on refining his shooting style on the HBOMax series, Hacks. Listen/watch the full interview: youtube.com/watch?v=hh_mQSQaT58&t=1614s@realadambricker #hacks #hackshbo #chefstable #chefstablenetflix #livepodcast @nabshow @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Adam Bricker, ASC on what he enjoys about documentary series Chefs Table and comedy series Hacks. The Cinematography Podcast 2025-04-25 | Adam Bricker, ASC on what he enjoys about shooting the documentary series Chef's Table and the comedy series Hacks. Listen/watch the full interview: youtube.com/watch?v=hh_mQSQaT58&t=1614s@realadambricker #hacks #hackshbo #chefstable #chefstablenetflix #livepodcast @nabshow @benjamin_rock @illyafriedman @hotrodcameras #cinematographer #cinematography #dp #dop #filmmaking #filmmaker #moviemaking #film #filmpodcast #cinematographypodcast
Special: Hacks DP Adam Bricker, Live Podcast in Las Vegas The Cinematography Podcast 2025-04-23 | Cinematographer Adam Bricker, ASC chats with Illya at our live podcast event hosted by the Broadcast Education Association at NAB Las Vegas. Adam discusses his early career and education, his breakthrough role as the DP of Chef’s Table on Netflix, and his work as the sole cinematographer on all four seasons of the Max TV show, Hacks.Adam enjoys shifting between the documentary style of Chef’s Table and the narrative scripted comedy of Hacks. “I want my documentary work to be like a movie, and I want my movies to feel more like documentaries,” he says. “So I think that they’re obviously different muscles. I’ve been lucky to do a season of Hacks, and then spend the summer traveling with my friends and shooting Chef’s Table and then going back to Hacks.”You can watch the current season of Hacks on Max, and the new season of Chef’s Table: Legends will be on Netflix April 28.Find Adam Bricker: Instagram @realadambrickerHear our previous episode with Adam Bricker from 2021.Sponsored by Hot Rod CamerasCheck out the new Betty Luminous Reflector at Hot Rod Cameras! The Betty Luminous is a full-spectrum light reflector designed to beautifully flatter human skin. Its fresnel-like directionality provides focused illumination while its gentle Gaussian falloff ensures a soft, natural look.Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!Email: editor@camnoir.comFacebook:@cinepodInstagram: @thecinepodThreads: @thecinepodBlue Sky: @thecinepod.bsky.socialPodcast Credits:Producer: Alana KodeAll web and social media content written by Alana KodeHost and editor in Chief: Illya FriedmanInstagram: @illyafriedman @hotrodcamerasHost: Ben RockTwitter: @neptunesaladInstagram: @bejamin_rockEditor: Charlie NixComposer: Kays Al-Atrakchi
Cinematographer Johanna Coelho on getting immersed into the ER set of The Pitt. The Cinematography Podcast 2025-04-18 | Cinematographer Johanna Coelho on getting immersed into the ER set of The Pitt. You can stream the entire season of The Pitt on Max.LISTEN NOW! SUBSCRIBE! Watch the entire interview on YouTube! youtube.com/watch?v=nw-52g6u4Eo&t=2308s @johanna_coelho @benjamin_rock @illyafriedman @hotrodcameras @streamonmax #thepitt #hbo #hbomax #medicaldrama #hospital #cinematographer #cinematography #director #directing #dp #dop #filmmaking #filmmaker #moviemaking #movie #movies #film #filmpodcast #cinematographypodcast
