The Cinematography Podcast

The Cinematography Podcast Episode 352: Ted Hope Producer Ted Hope has worked in the film business for over 40 years, producing dozens of features with several Academy Awards nominations and wins. After leaving Amazon Studios in 2020, Hope went back to his roots as an independent producer and began writing his Substack blog, Hope For Film. He argues that the independent film ecosystem as we know it has reached its final days. However, far from being a tragedy, Ted definitely has hope for film. He sees what's happening in the industry today as a necessary seismic shift. Hope has a vision for a more “punk rock” future of cinema, with a decentralized, artist-owned future that prioritizes "freak flags" and human empathy over corporate consolidation. Key Podcast Highlights: -How filmmakers should stop trying to emulate "mini-Hollywood" productions and embrace a DIY, experimental approach with room to fail. -How the streaming era has killed the anticipatory joy of seeing a film when it’s simply dropped on a homepage, making it harder for the longer-term cultural engagement that helped independent films thrive. -Why ownership is the new path forward, paired with self-financing and total IP control. -Film’s best defense against AI is embracing cinema that mimics life and human complexity, with scripts that contain ambiguity rather than payoffs. -Why filmmakers must understand and control the entire filmmaking process, from budget and shoot to distribution. **A special note to our listeners: We have an exclusive discount link to subscribe to Ted Hope’s substack, Hope For Film! Get 50% a 1 year subscription at https://tedhope.substack.com/cinepod. This offer does expire on April 20 (4/20) at 4:20 PM PT. Yep, that’s on 4-20 at 4:20. Don’t miss out!** You can also find the discount link in our shownotes for this episode at www.camnoir.com Show Rundown: 03:07 Close Focus 06:44-01:13:14 Ted Hope interview 01:14:04 Short ends 01:25:42 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 351: Marshall Adams, ASC and Paul Donachie Pluribus DPs Marshall Adams and Paul Donachie share a visual shorthand, love of wide shots, and creative freedom to craft inventive techniques using LED panels. Key Podcast Highlights: -Marshall and Paul’s collaboration as DPs, and how their shared aesthetic vision strengthens the show. -Getting absolute top-down permission from producer/director Vince Gilligan to take creative risks. -The importance of prep, rehearsal and flexibility in planning intriguing shots. -Focusing on finding visual effects in camera instead of relying on VFX, such as the LED rig Marshall built for the truck oner in the pilot episode. Find Marshall Adams, ASC: Instagram @smadadp See Pluribus on Apple TV Show Rundown: 02:22 Close Focus 11:46-46:45 Marshall Adams and Paul Donachie interview 47:22 Short ends 55:47 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 350: Lawrence Sher, ASC DP Lawrence Sher felt creatively challenged on The Bride! The "everything burger" movie combines many film techniques and influences, 1930's and contemporary lighting, contemporary actors dropped into archival movie footage, and practical makeup effects. Key Podcast Highlights: -Creating a stylized movie with director Maggie Gyllenhaal using multiple techniques and film influences -Honoring 1930’s filmmaking with longer lenses, and using real archival footage for the “movie within a movie” sequences. -The challenge of lighting and filming practical makeup effects on actors Christian Bale and Jessie Buckley -Finding creative inspiration in projects that excite and scare him Find Lawrence Sher: https://www.lawrencesher.com/ Instagram @lawrencesherdp See The Bride! in theaters Check out Shotdeck: https://shotdeck.com/ Hear our previous episodes with Lawrence Sher: https://www.camnoir.com/ep293/ https://www.camnoir.com/ep56/ Show Rundown: 01:38 Close Focus 09:43-50:05 Lawrence Sher interview 50:21 Short ends 57:08 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast 2026 Oscar Special Jenelle Riley, three-time Emmy-winning entertainment journalist and host, chats with Ben and Illya for our SEVENTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized. They discuss this year’s nominations, including the likeliest Best Picture and Best Director contenders, Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners. F1 is also mentioned as an outlier for the category, although the cinematography by Claudio Miranda is excellent. This year's new category, Achievement in Casting, is celebrated as a much needed addition. The cinematography competition is a heated one, with both Autumn Durald Arkapaw and Michael Bauman as favorites, with Bauman recently winning the ASC Award. Some of the snubs this year include one of Jenelle's favorite movies, Life of Chuck. Song Sung Blue also didn't receive much awards love. Last year's awards omitted the worthy film, Thelma. Also discussed: Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress. Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley and Substack: https://substack.com/@rileywrites74/note/p-183180534 Tune in to the SAG/AFTRA foundation YouTube Channel to see Jenelle's interviews with several of the nominees this year. https://www.youtube.com/@SAGAFTRAFoundation The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 349: James Whitaker, ASC Good Luck, Have Fun, Don't Die DP James Whitaker, ASC played with different genres, with over 70 setups a day in the Norm's diner set. He used LED walls and projectors to cast real, interactive light on the characters in the film’s climax, and swapped to a different camera system for certain scenes to play up the glow of cell phones. Key Podcast Highlights: -Shooting the opening sequence of the film in a set replica of Norm’s Diner -How director Gore Verbinski’s complex, hand-drawn storyboards allowed the crew to maintain a "ballet-like" precision during Rockwell's complex physical performances. -Using LED walls and projectors to cast real, interactive light on the characters in the film’s climax -Swapping to a Sony Venice 2 when the cell phone light source wasn’t strong enough in some scenes Find James Whitaker: Instagram @jameswhitaker_dop See Good Luck, Have Fun, Don't Die in theaters See James' most recent series, DTF St. Louis, on HBO Max See Patriot on Amazon Prime Hear our recent interview with Nicole Whitaker: https://www.camnoir.com/ep338/ SHOW RUNDOWN: 02:05 Close Focus 12:14-01:00:49 James Whitaker Interview 01:01:30 Short ends 01:06:46 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 348: Danny Cohen, BSC DP Danny Cohen, BSC, reveals how he crafted the "dirty London" look of Slow Horses through motivated lighting, high ASA grain, and the grit of Slough House. Key Podcast Highlights: -How Slow Horses ditches the typical block shooting system, with one DP and one director to create the entire season’s visual look. -Using camera settings to bake in noise and deep, inky blacks for that signature London grit. -Shooting with 2–3 cameras, which allows for weird, accidental angles that a single camera would never catch. -Why Danny bans traditional backlighting and soft fill to keep his characters trapped—and embedded—in their murky environments. - A look at the multi-story Slough House sets that let actors and cameras move through floors without ever hitting a fake wall. Find Danny Cohen: http://wwwb.co.uk/ See Slow Horses on Apple TV. SHOW RUNDOWN: 02:23 Close Focus 13:41-51:27 Danny Cohen Interview 51:53 Short ends 01:03:18 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 347: director Natasha Kermani and DP Julia Swain In the medieval horror film The Dreadful, director Natasha Kermani and cinematographer Julia Swain transport audiences to the brutal landscapes of the Dark Ages. The independent film shot in Cornwall, England over 17 winter days. Key Podcast Highlights: -Development: Kermani spent years crafting the folkloric tale, prioritizing a "gothic storybook" aesthetic that blends historical iconography with psychological dread. -The Power of Partnership: Kermani and Swain have collaborated on several projects. Early on, they worked together to map out the film’s framing, lens choices and color story. -Practical Immersion: The crew built a practical cottage set on location, allowing for seamless camera movement between the interior hearth and dark forest. -Embracing the Elements: Filmed in the dead of winter, the production utilized the low December sun and natural ambiance to create an authentic, oppressive atmosphere without the use of hard, artificial lighting. Find Natasha Kermani: Instagram @natakerm Find Julia Swain: Instagram @juliaswain See The Dreadful in theaters and on VOD now. SHOW RUNDOWN: 01:59 Close Focus 14:23-01:03:57 Natasha Kermani and Julia Swain Interview 01:04:43 Short ends 01:09:24 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Special: Frederick Wiseman With the passing of documentarian Frederick Wiseman, here is a re-release of our 2020 interview. He discusses City Hall, Titticut Follies, High School and more. Wiseman was a prolific filmmaker, making 45 films over 50 years. Wiseman's family and Zipporah Films kindly request that you support your local PBS affiliate or independent bookstore in Frederick Wiseman’s memory. Frederick Wiseman has proven that, in his words, “If you hang around long enough, you can collect enough material and cut a dramatic narrative film out of real life.” A Frederick Wiseman documentary has a very specific style- no narration, no identifying lower-third captions, no interviews and no camera movement. The viewer simply watches the story unfold as a slice of life. The subject is usually a mundane, everyday institution that many might simply overlook. Wiseman feels his films are not merely observational, but that he actively makes decisions on how to sculpt them into a narrative during the editing process. He enjoys making documentary films because he finds comedy and drama exist in ordinary life, just as much as anyone would find in fiction. Wiseman shies away from the terms “documentary” and “cinema verité”- he thinks the term "movie" is good enough because “documentary” is something that sounds like it's supposed to be good for you. For Wiseman's film, City Hall, he had the idea that recording what happens in a city hall would be a good inside look into the machinery of how a city runs. Boston City Hall happened to be the only one that gave him permission. A staffer of the mayor had seen his films and liked the idea. Unlike some of Wiseman's other movies, Boston mayor Marty Walsh was a central character- as the leader of the city, he is very involved in seeing that it runs smoothly. Before he became a director, Wiseman was a lawyer and law school teacher. He always wanted to be a director, but had no experience with movies. He saw an opportunity to become a producer when he optioned a novel called The Cool World and asked director Shirley Clark to helm it, which helped demystify the process for him. Wiseman's first documentary, 1967's Titticut Follies, was about the Bridgewater Prison for the Criminally Insane. He knew the warden from his years as a lawyer and was able to get permission to shoot at the facility and gain access to the inmates. His next film, High School was released in 1968. "After shooting in a prison for the insane, high school seemed to be the next logical progression," he jokes. Part of Wiseman's process is to find the film as he shoots, venturing forth purposefully blind and with little preparation. For him, it all emerges in the editing process. Wiseman always does his own editing and watches each piece of footage-generally about 150 hours of it- to decide how to structure each sequence. Find Frederick Wiseman's documentaries. You can see almost all of Wiseman's documentaries on Kanopy for free with your library card. Sponsored by Hot Rod Cameras: www.hotrodcameras.com LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts! YouTube: https://www.youtube.com/c/TheCinematographyPodcast Email: [email protected] Facebook:@cinepod Instagrxam: @thecinepod Threads: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 346: Adolpho Veloso, ABC, AIP The film Train Dreams tells a story that feels less like a narrative and more like a memory. It began as an independent project that premiered at Sundance to critical acclaim before getting acquired by Netflix. Director Clint Bentley and cinematographer Adolpho Veloso, ABC, AIP, chose to shoot in the rugged landscapes of the Pacific Northwest. Veloso's radical commitment to naturalism in the film meant relying almost entirely on firelight, candlelight and natural light. The gorgeous result has earned him an Academy Award nomination for Best Cinematography. After their successful collaboration on the low-budget indie movie Jockey, Veloso and director Clint Bentley knew a tiny crew and small group of actors could lead to good, intimate storytelling. They developed a specific visual shorthand designed to make Train Dreams feel like a discovered artifact. They chose a 3:2 aspect ratio, a deliberate nod to still photography, intended to evoke the sensation of looking through a dusty box of old family photos. “We wanted the movie to feel like memories, like finding a box of pictures,” explains Veloso. “The whole visual motif came from still images and still photography in a way.” Using a single, handheld ARRI ALEXA 35 camera operated by Veloso allowed the actors freedom to improvise and move naturally, often capturing moments that a more rigid, multi-camera setup would have missed. To maintain a clear narrative thread through Robert's (Joel Edgerton) life, Veloso established visual rules using specific lighting shifts to distinguish between the warmth of Robert’s good memories and the starker, haunting quality of his loss. Grounding the film in nature was extremely important. The team scoured Washington state, looking for woods that appeared untouched by time, yet remained accessible enough for a film crew. They shot around the Spokane area, where the drier weather and specific light quality offered the perfect backdrop for the film’s mid-century setting. Working in national forests meant strict regulations with a small footprint, and timber cutting and axe work was carefully planned. Using almost entirely firelight, candlelight and natural light is very nontraditional filmmaking, and required a great deal of planning from all departments. For the two sets, the cabin and fire tower, Veloso spent weeks tracking solar orientation. The crew carefully built the cabin to exact specifications to allow plenty of light into the space. “You have the privilege to build it the way you want,” Veloso explains. “It’s a lot of studies of what the sun is doing from week one to week seven. You have to decide where to place the windows so the light continuity holds as the seasons shift.” The most interesting technical choice was the total ban on LED lighting for period scenes. Veloso wanted the authentic flicker and color temperature of the era, but candles alone often create harsh, distracting shadows. To solve this, the team engineered a “1920s Sky Panel.” This custom rig used large reflective surfaces combined with candles and diffusion to create a soft, glowing light source that felt period-accurate yet flattering on the actors' faces. This required a constant dance between the camera and the art department. Candles, oil lamps, firelight, and campfires had to be good quality light to expose the image properly. For campfire scenes, the gaffer measured light levels in real-time, signaling the fire safety monitor to add wood precisely when the "exposure" needed a boost. A devastating forest fire at the film's climax required a shift from the naturalistic to the surreal. To capture the flames and feeling of a real forest fire, the production moved to an LED volume stage. Robert is dreaming about what happened in the fire, so the fire scene had to be strange and surreal. Veloso shot at a low frame rate with a wide shutter to create a blurred, fever dream aesthetic. The crew also shot in previously burned forests, capturing the aftermath of a real fire. Through Veloso's lens, Train Dreams is a tactile, flickering meditation on time itself. Find Adolpho Veloso: https://www.adolphoveloso.com/ Instagram: @adolphoveloso Watch Train Dreams on Netflix Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 345: Sean Bobbitt In the landscape of post-apocalyptic cinema, few franchises carry as much visual baggage as the 28 Days Later franchise. Known for pioneering the "fast zombie" and the gritty, digital lo-fi aesthetic of the early 2000s, the series has always found a novel visual approach for every entry. For the latest installment, 28 Years Later: The Bone Temple, cinematographer Sean Bobbitt, BSC, faced a unique challenge: honoring the jagged zombie movement of the franchise while carving out a look that feels entirely new. While 28 Years Later was shot on iPhones and set its own tone, Bobbitt was determined to make The Bone Temple stand apart. The goal was to capture a duality within the setting. Dr. Kelson (Ralph Fiennes) has created a special space within The Bone Temple, where the chaos parts around him. Bobbitt explains, “We just wanted to highlight the fact that this was a place of peace and tranquility, and acceptance, but also bonkers madness by using much more traditional cinematic techniques and a much slower camera.” However, the film doesn't sacrifice the kinetic energy the series is known for. To capture the fights between the infected and a group known as the "Jimmies," Bobbitt used the ARRI Trinity camera system. By using a gyro-stabilized remote head mounted on a Steadicam rig, they created a fluid, immersive way for the camera to navigate the chaos with 360-degree movement. The trademark jagged movement and speed of the infected is created by using a narrower shutter angle. A typical shutter angle is 180 degrees for natural motion blur, while the 28 franchise uses a narrower 90-degree, or even 45-degree shutter angle. Bobbitt expanded the signature shutter settings to apply to the Jimmies, a visual way to represent the thin, blurring line between the humans and the zombies. “There are all sorts of statements being made about humankind,” in The Bone Temple, says Bobbitt. “There's a lot of humanity and humor in the script which drew me to it.” Director Nia DaCosta and Bobbitt have a history that dates back several years. They first met on a Steve McQueen film set where DaCosta was a production assistant whose job was driving Bobbitt to and from work. Bobbitt enjoyed her first feature, Little Woods, and went on to DP both The Marvels and Hedda with her. “She's a great writer, a great director and the epitome of collaboration,” he says. Their process involves a meticulous long prep, with extensive shot-listing and storyboarding. Bobbitt prefers the intimacy of a single-camera setup, which he usually operates himself, even on large films. On the Yorkshire set, he pre-lit the entire space, enabling the actors to have the freedom to move without being tethered to specific marks. "The lighting informs actors," Bobbitt explains. "I try to light it as it should be, based upon my understanding of the emotion of the scene and discussions with the director." Rehearsals are key for Bobbitt to make lighting adjustments for close-ups, while the actors feel comfortable and immersed in the world of the story. Interestingly, The Bone Temple is Bobbitt’s first foray into the horror genre. As a former documentary and news cameraman, he says, “Horror to me is a real thing. It is actual dead bodies, and the horror of what humanity can do to each other. That is embedded in my soul forever, what I've witnessed.” Bobbitt found a deep connection to the script's humanity and humor. The appeal of the 28 franchise for him is that it isn't just about monsters; it’s a human story about the horrors people inflict on one another. By bringing a documentary-trained eye to a fictional apocalypse, Bobbitt has crafted a film that respects the technical demands of the genre while never losing sight of the human pulse at its center. See 28 Years Later: The Bone Temple streaming on digital soon. Hear our previous interview with Sean Bobbitt: https://www.camnoir.com/ep114/ Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 344: Russell Carpenter When cinematographer Russell Carpenter began working on Avatar: The Way of Water and Avatar: Fire and Ash concurrently, he knew stepping into the world of Pandora would be a much different production environment. Carpenter and director Jim Cameron had previously collaborated on True Lies and Titanic, which won him the Academy Award for Best Cinematography. As the cinematographer, Carpenter’s primary concern was ensuring the lighting on live, motion-captured actors blended seamlessly with a CGI-generated universe. Audiences instinctively understand the physics of sunlight filtering through a forest or the way light refracts underwater. To maintain an emotional connection to the story, Cameron insisted that every frame feel like it was in the real world of Pandora. The Avatar sequels were built in layers, with digital artists building the environment based on the script. Rough versions of the scenes and the blocking for the actors were plotted out, and then they were ready for the motion capture with the actors. Carpenter worked closely with production designers to determine how light should "feel" in these virtual spaces. Because the background was digital, the camera movement and lighting could be tested with instant feedback. If a virtual camera moved through a forest, the real-world lighting on the actor could be tested to react to every digital leaf and shadow in real-time. For over a year, Carpenter lived in two worlds: the virtual and the physical. "I had to keep lighting consistent in the CGI world while translating what Jim was doing on the capture stage," Carpenter says. "In the world of motion capture, things have to match to the half-second. If the camera travels a specific distance at a specific speed, the actor has to be exactly there. It’s painstaking." A major breakthrough for the sequels was the use of programmable LED systems. Working with computer programmers and moving lights, Carpenter’s team devised a way to shift intricate lighting setups instantly. This allowed for more complex visual storytelling, such as backlit sequences and the dappled, moving light of the Pandoran jungles. For Avatar: Fire and Ash, Cameron pushed for a more "organic" look, requesting the digital world mimic the flaws of physical film cameras. “Certain artifacts were introduced into Fire and Ash that we didn't quite have on Way of Water,” Carpenter explains, “such as lens flares and the appearance of water running off the front plate of a camera lens.” The team tested shooting lens flares, and a Weta programmer built it into the CGI world. To simulate the "Ash People" shooting flaming arrows, Carpenter’s team used a grid of overhead LEDs programmed to "zip" past the actors' heads at arrow-speed, creating a realistic flicker of firelight on their faces Despite the technical hurdles, Carpenter found that the core of his craft—sculpting light—remained the same, even if the toolkit had changed. He admits the transition isn't for everyone. “I would say to any cinematographer who ventures into this territory, there's a learning curve where you definitely feel like a stranger in a strange land,” he says. “You realize that, especially in terms of live action, your percentage of the pie is less—but your impact on the final vision remains vital.” You can see Avatar: Fire and Ash in a variety of formats in theaters everywhere. Hear our previous interviews with Russell Carpenter: https://www.camnoir.com/ep40/ https://www.camnoir.com/ep200/ Find Russell Carpenter: Instagram @russellcarpenterasc Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 342: Michael Bauman Cinematographer Michael Bauman recently earned an Academy Award nomination for Best Cinematography for his work on One Battle After Another. Before becoming a cinematographer, Bauman spent years as a gaffer, working under legends like Robert Elswit, Janusz Kaminski, and the late Harris Savides. This mentorship gave him a masterclass in diverse visual languages and on-set problem-solving. After serving as a gaffer for director Paul Thomas Anderson on several projects, Bauman stepped into the DP role for the features Phantom Thread and Licorice Pizza. The decision to shoot One Battle After Another in VistaVision was Anderson's idea. Known for his commitment to celluloid, Anderson prefers old-school techniques: watching dailies on developed negative and editing with physical film. VistaVision offered a larger negative and higher resolution than standard 35mm without the massive footprint of IMAX. The challenge, however, was mobility. Historically used for stationary visual effects shots, the VistaVision camera is notoriously bulky. Anderson wanted the opposite: a dynamic, handheld, and Steadicam-heavy aesthetic. "The language of this entire movie is camera movement," says Bauman. "How do you take this format—with a viewing system that comes off the top at 45 degrees—and turn it into something that can capture the story the way he wants?" Putting an experienced team together was key for the endeavor. They had to be capable of troubleshooting in remote locations far from the safety of LA or New York hubs. Their goal wasn't perfection, but character. "In the digital world we soak in now, it’s all about a pristine image," Bauman notes. "Blacks are super rich, whites are super crisp. We wanted to take this 'Kobe beef' format and turn it into a McDonald's hamburger—in the best way possible." The visual identity was further refined by referencing 1970s cinema, specifically The French Connection. Bauman studied the texture and color palettes of that era to emulate its "loose and rough" style. True to form, Anderson pushed to avoid modern LED lighting, preferring tungsten sources whenever space allowed. As a former gaffer, Bauman was happy to accommodate. Perhaps the greatest hurdle was the improvisational nature of the production. Anderson enjoys letting the actors improvise or even reshoot later. He doesn't use storyboards or do pre-vis, so even complex scenes had to be worked out in pre-production or on the day. “Every day was just like, you had to get comfortable with the uncomfortable,” comments Bauman. “I knew we were doing stuff in a good spot when I was really questioning all of it. We had to embrace all these happy accidents. It's free jazz all day long. It's exciting now, but at the time I was stressed as hell!” This spontaneity extended to the film’s climax. The spectacular car chase wasn’t fully scripted until the location manager discovered a road with rolling hills on the Arizona border. After a week of testing the VistaVision rigs on pursuit vehicles, the crew spent seven days capturing the sequence. Although it was in the wide-open desert, the characters chased each other over the undulating terrain, which allowed enough suspense to build before the spectacular conclusion. See One Battle After Another in theaters and streaming on HBO Max Find Michael Bauman: Instagram @baumanlights Check out Michael's lighting companies, LiteGear and Lux Lighting. Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 342: Amy Vincent, ASC Cinematographer Amy Vincent, ASC feels like she's reached the place where she wants to be, working on the kinds of films she likes. Vincent and director Craig Brewer have collaborated on several music-forward films, including Hustle & Flow, Black Snake Moan, and a Footloose remake in 2011. Throughout the years, Vincent and Brewer have created a shared cinematic language built on deep trust. Their latest collaboration, Song Sung Blue, is a biopic about a Neil Diamond tribute band. Craig Brewer had seen the original documentary Song Sung Blue at a film festival, and knew that he wanted to adapt the story of Mike and Claire Sardina, who formed a Neil Diamond tribute band called Lightning and Thunder. To bring their world to life, Vincent’s primary mission was to protect Brewer’s instinctual, writer-driven process. While many modern productions retreat to the controlled environment of a soundstage, Song Sung Blue leaned into the grit of reality. The film was shot entirely on practical locations in New Jersey, doubling for Milwaukee. Vincent admits she was initially reluctant to embrace the cramped quarters of real homes, but the shot design was quickly informed by the limited space. Pre-production tests on location with period light fixtures and wood paneling on the actors' hair and makeup also gave the entire production team a chance to see the film's vision come to life. For the film’s musical sequences in bars and on stage, Vincent made a deliberate technical choice to embrace the performance lighting. By choosing a 1.85:1 aspect ratio, the lighting fixtures themselves could be part of the composition. Rather than hiding the sources, she embraced lens flares and visible fixtures, treating the lighting as a character in the performance spaces. This added an authentic "stage" texture to the Lightning and Thunder shows. The visual language of the film was born long before the first day of principal photography. Vincent was present during the actors' vocal recordings and rehearsals, watching how leads Hugh Jackman and Kate Hudson interacted. She points to “Play Me,” a scene where the characters sit back-to-back on a piano bench after they first meet, as a product of this observation. “That all started for me by watching the actors physically moving and singing in those initial rehearsals.” By the time they reached the set, the camera movement was already a natural extension of their physical performances. For Vincent, Song Sung Blue is a project where the technical execution perfectly aligns with a narrative she believes in. “Craig is aligned with the idea of telling stories about people who dream beyond their means,” she says. “I always love that. It’s something I hope I get to continue doing.” See Song Sung Blue in theaters and streaming on VOD. Find Amy Vincent: Instagram @amyvvincent Hear our previous interview with Amy Vincent: https://www.camnoir.com/ep259/ SHOW RUNDOWN: 01:45 Close Focus 08:30-58:38 Amy Vincent Interview 59:45 Short ends 01:09:15 Wrap up/Credits Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 341: Caleb Heymann Cinematographer Caleb Heymann has been a key architect of the Stranger Things aesthetic since the tail end of Season 3. After starting as a second unit DP, Heymann was promoted to lead cinematographer for the blockbuster Season 4, and now its fifth and final season. The crew dedicated a full year to filming Season 5, spanning from January through December 2024. While the desert dreamscape was captured on location in New Mexico, the bulk of production remained in Atlanta. Seasons 4 and 5 traverse a variety of locations, each requiring vastly different palettes. Heymann views each environment within the Stranger Things universe as a "cinematic playground." To ground the show’s supernatural elements, the production leans heavily on location shooting and in-camera effects. “There are definitely certain anachronistic visual elements that we wanted to pay homage to,” says Heymann. “The lightning can be a little over the top. It intentionally rides that line between expressive and theatrical. But I think we try to not overdo it, because everything in front of the camera is already taking you there.” The production constantly balanced both digital and physical effects. “We always try to push it and see what we can get in camera. The art department does an incredible job and builds us huge sets,” says Heymann. Creating the Upside Down was a monumental task for the art department, who must redress nearly every location for night shoots. The iconic vines, for instance, are physically constructed by "nether technicians." To make the dimension's signature hellish glow, the crew often used practical red lighting on set rather than relying solely on post-production color grading. Heymann and the Duffer brothers selected a different camera system for each season, choosing cameras that best fit the story's needs. For Season 5, Heymann needed a distinct visual motif to represent Will’s "trance state" and the POV of the demogorgons and demo dogs. He stacked two center-spot diopters, which blended the image while losing focus at the edges. To heighten the disorientation, the team shook the camera manually and with a camera shaker on a Technocrane. “It was absolutely a dream experience already being a fan of the show to be able to come in and join this group of awesome people who work on it and to ultimately get to work with the Duffers,” says Heymann. “I learned a lot from them, just in their attention to detail and sensitivity to camera movement. And they're always about pushing everybody to do their best work.” See Stranger Things Season 5 streaming on Netflix. Find Caleb Heymann: https://www.calebheymann.com/ Instagram @calebheymann SHOW RUNDOWN: 01:53 Close Focus 06:45-01:00:06 Caleb Heymann interview 01:01:10 Short ends 01:08:39 Wrap up/Credits Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 340: Steve Yedlin, ASC Cinematographer Steve Yedlin, ASC, and director Rian Johnson have shared a creative shorthand for over thirty years. Their collaboration is so deep that it rarely requires extensive dialogue. “Rian will mention things he wants to do differently or specifically, but a lot of it is already in the script,” says Yedlin. Johnson describes the vision; Yedlin elevates and translates it to the screen. While Benoit Blanc (Daniel Craig) remains the series' constant touchstone, each Knives Out installment is a visual standalone. “Rian and I are adamant that we don’t want to repeat ourselves—that’s boring,” Yedlin notes. “We want to push the medium forward and tell the story in the most visually arresting way possible.” For Knives Out: Wake Up Dead Man, the duo pivoted toward a Gothic aesthetic with horror overtones. Yedlin introduced inky, high-contrast blacks and utilized "creep zooms" to heighten the tension. However, the film's atmosphere is most heavily dictated by the lighting. Within the central church setting, outdoor light shifts were meticulously programmed using Yedlin’s proprietary software, as the external environment mirrors the internal drama of the scene. The most technical challenge of a Knives Out production is managing the sprawling ensemble cast. Filming large groups can risk "breaking the stageline"—violating the 180-degree rule that maintains spatial consistency for the audience. To avoid disorienting cuts, Johnson and Yedlin identify the strongest "stageline" between two key characters and commit to it. Rather than relying on traditional coverage, they use anchored shots that emphasize depth, showing how characters interact across the foreground and background. Reflecting on their lifelong partnership, Yedlin views the work as both professional and personal. “He’s been my best friend,” he says. “Rian is a brilliant filmmaker. Even if I had nothing to do with his movies, they would be my favorites. And then I get to work on them because he keeps bringing me along.” See Knives Out: Wake Up Dead Man streaming on Netflix. Find Steve Yedlin: https://www.yedlin.net/ Instagram @steveyedlin SHOW RUNDOWN: 01:27 Close Focus 10:45 Steve Yedlin, ASC interview 58:57 Short ends 01:07:27 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The Cinematography Podcast Episode 339: Autumn Durald Arkapaw, ASC Cinematographer Autumn Durald Arkapaw, ASC was first introduced to director Ryan Coogler through fellow DPs Bradford Young and Rachel Morrison. After their successful collaboration on Black Panther: Wakanda Forever, Coogler sent her the script for Sinners, a supernatural horror-action film. The film tells the story of twin brothers who return home in the 1930's to open a juke joint, only to encounter the ancient evil of the undead. Autumn's epic cinematic camerawork on Sinners integrates the vampire story with the spiritual power of Black American rhythm and blues music. Though Coogler initially envisioned shooting in 16mm, the team realized a larger format would better facilitate the complex "twinning" effects required for Michael B. Jordan’s dual roles. After rigorous testing, they landed on a historic combination of 70mm and IMAX. “I think one thing with Ryan, when you're standing next to someone that's a brave filmmaker, you feel like you can do anything.” Autumn says. “He's open to anything. He's excited about doing things for the first time. He creates an environment where people have power and the collaboration is at the highest level.” The production was a logistical marathon. The massive IMAX cameras were frequently rigged to cranes or mounted on Steadicams, all while the crew battled the volatile Mississippi summer. Between the oppressive heat, sudden rain, and thick mud, the physical act of filming became an exercise in endurance. “We've seen those movies like Lawrence of Arabia, and everybody out there with big cameras trying to tell a story with scope,” notes Autumn. “You know, you're in the land. You then become a person that's a part of the structure of the land. And you have to be able to work in it, with the elements to get the most beautiful images. It's not easy.” Perhaps the film’s greatest technical feat is the juke joint sequence set to the song “I Lied To You.” What appears as a seamless “oner” is actually several complex shots threaded together. The sequence required months of storyboarding, pre-visualization and camera rehearsals in the space to execute. By placing the heavy IMAX rig on a Steadicam, the team rehearsed every beat to ensure the emotional momentum remained unbroken as the camera moved from an interior stage setup to an exterior shot of a burning mill. The final roof collapse was a practical plate shot on the final day of principal photography, later enhanced by VFX. Seeing that scene still makes Autumn feel emotional. “I get very teary-eyed when I watch that because I'm proud of everybody, and you can really feel the music in the theater.” See Sinners in select theaters and streaming on HBO Max. Find Autumn Durald Arkapaw: Instagram @addp Hear our previous interview with Autumn Durald Arkapaw. https://www.camnoir.com/ep193/ SHOW RUNDOWN: 00:00 Intro 01:38 Autumn Durald Arkapaw interview 52:08 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social