The Cinematography Podcast
The Cinematography Podcast explores the art, business, craft, and philosophy of the moving image, featuring interviews with cinematographers and industry professionals. It delves into the technical and creative aspects of filmmaking, offering insights into the world of cinematography.
Episodes
Bringing indie instincts to Voicemails for Isabelle
DP Julia Swain on faking the Golden Gate Bridge, rigging a real tour bus, and bringing indie instincts to Netflix's Voicemails for Isabelle
Podcast highlights include:
-How Julia shot the film's pivotal Golden Gate Bridge overlook scenes without using a stage. The team scouted the real Marin Headlands, built a 3D map of the exact sightline, then recreated the spot in a Vancouver park at night, u
Michael Bauman on building horror for Monster: The Ed Gein Story
DP Michael Bauman, ASC on shooting Monster: The Ed Gein Story, building a visual language with period lenses, and lighting with just reflectors and flashlights.
Podcast highlights include:
-How Michael built a distinct visual language for each era with lensing shifting from period to period. Color and texture gave the digital image a weathered, film-period feel.
-Lighting the Emmy-nominated Epis
Shooting mud, fog and firelight in A Knight of the Seven Kingdoms
DOP Gustav Danielsson, FSF on shooting HBO's A Knight of the Seven Kingdoms with naturalistic firelight, practical battlefield fog, and in-camera POV shots
Podcast highlights include:
-How Gustav and director Owen Harris planned the show's night time, fire-light-driven look.
-Beginning their shoot day at dusk to catch the natural blue hour light in the wide shots before moving into closer setup
Matt Ball on shooting in remote regions for Tucci in Italy
DP Matt Ball on shooting Tucci in Italy Season 2, the challenges of journeying to remote regions over tourist spots, and capturing emotional moments on camera.
Podcast highlights include:
-How the show featured lesser-traveled regions like Sardinia, Le Marche, and rural Abruzzo to capture authentic regional culture.
-Running a lean, self-contained crew for shoots in remote and hard-to-reach loca
Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear
DP Eben Bolter, ASC, BSC breaks down the watery, noir lighting, anamorphic lenses, and practical tricks behind Apple TV's Cape Fear.
Podcast highlights include:
-How Eben built Cape Fear's look around the theatrical expressionism of the 1991 Scorsese film. He used the same 2.35 aspect ratio as the Scorsese film, rather than a more conventional widescreen frame.
-Working with the production desig
Lyle Vincent on lighting the darkness of The Beast in Me
Cinematographer Lyle Vincent on shooting the Netflix series The Beast in Me with Panavision lenses and hard lighting that allow deep shadows to fall into black. Vincent's work is a continuation of his collaboration with director Antonio Campos after the HBO Max drama, The Staircase. The eight-episode limited series, shot entirely by Vincent, was approached less like television and more like one ve
Christian Sprenger on building the horror-comedy Widow’s Bay
Christian Sprenger, ASC on balancing horror and comedy in Widow's Bay with lighting, practical effects, and years of trust built with producer Hiro Murai.
Podcast highlights include:
-How Christian's 11-year creative partnership with executive producer and director Hiro Murai has built a shared shorthand, allowing him to pitch unconventional ideas with total trust.
-Why the team resisted moody, s
Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look
Peter Konczal, ASC on Black Rabbit's deliberately low-tech-analog toolkit, customized blue bounce light, and the gradual unraveling of its visual style episode by episode.
Podcast highlights include:
-The deliberately low-tech-analog toolkit Pete assembled with co-cinematographer Igor Martinović became the show's defining look. It included one of a kind soot filters and scratched-up glass rulers
Suburban street photography and voyeurism in DTF St. Louis
DP James Whitaker, ASC breaks down the look of HBO's DTF St. Louis: street photographs, a brutalist style police station, and inobtrusively lighting intimacy.
Podcast highlights include:
-How street photography, not cinema, was the right reference point for shooting ordinary suburbs.
-What led to the unusual set design and lighting of one of the key locations, featuring a brutalist interior that
Smoke, spotlights, Silicon Valley secrets in The Audacity
The Audacity DP Richard Rutkowski, ASC made Vancouver look like Palo Alto, used lens filters instead of special effects to create wildfires, and dramatized the themes of the show with spotlights and framing.
Podcast highlights include:
-How Richard and his crew made Vancouver look convincingly like Silicon Valley and why establishing a sense of place was a creative priority from day one.
-Why gl
Bonus Episode: Peter Deming, ASC
Peter Deming, ASC on shooting Evil Dead 2 with director Sam Raimi and working with director David Lynch on Lost Highway, Mulholland Drive, and Twin Peaks.
Find Peter Deming: Instagram @peter_deming
Spider Noir is now streaming on MGM Plus and Amazon Prime.
The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky:
Shooting in the dark: the making of Spider Noir
Cinematographers Darren Tiernan, ISC and Peter Deming, ASC are the DPs of Spider Noir, the new MGM Plus and Amazon Prime series starring Nicolas Cage as the hard-boiled 1930s New York detective version of Spider-Man. The character is based on Marvel Comics featuring Spiderman Noir, and first introduced in Spider-Man: Into the Spider-Verse. Tiernan and Deming created a series that looks like a clas
James Laxton, ASC Frames Class and Generation Gaps in Beef 2
James Laxton, ASC is the Academy Award nominated cinematographer of Moonlight. His latest project is Season 2 of Beef, the acclaimed Netflix series created by Lee Sung Jin. This season explores themes of love, class, and generational cycles.
Key Podcast Highlights:
-How James and Lee built a color palette of spring, summer, autumn, and winter that stays continuous through lighting, costume, and p
Evoking dread in Something Very Bad is Going to Happen
Krzysztof Trojnar is the cinematographer of the Netflix series, Something Very Bad is Going to Happen. It’s a genuinely unsettling horror show about a woman whose anxiety about an upcoming family wedding spirals into something far darker, with Krzysztof's camera work enhancing the feeling of dread.
Key Podcast Highlights:
-How the visual language of the show deliberately evolves across episodes,
Lawrence Sher ASC: filming Apex in the Australian wilderness
Lawrence Sher, ASC, is the cinematographer of Apex, the action thriller currently sitting at number one on Netflix. Apex stars Charlize Theron as a woman hunted through the Australian wilderness by a relentless pursuer, and it's one of the most visceral and visually grounded survival thrillers in recent memory. The entire film was shot on location in the Blue Mountains of Australia.
Key Podcast
Tari Segal, ASC: visual magic in Margo’s Got Money Troubles
Margo's Got Money Troubles DP Tari Segal, ASC approached the show with spontaneity, intimacy, and a creative way to bring static backdrops to life. Margo's Got Money Troubles follows a young woman navigating an unexpected pregnancy, a complicated family, and some very creative ways to pay the bills. It’s one of the most visually inventive comedies currently streaming. Tari shot four of the show's
DP Greta Zozula on the look of The Testaments
DP Greta Zozula remakes the world of Gilead in The Testaments, a sequel to The Handmaid's Tale. She chose a very specific color palette and brighter look to show the optimism for the young women at the school for future wives. Flashbacks to the world of Toronto are sharper, grittier and more realistic.
Key Podcast Highlights:
-How Greta kept the same camera and lenses consistent from The Handmai
The scrappy, indie production of Hunting Matthew Nichols
Hunting Matthew Nichols is an indie horror film that’s shot as a mockumentary/found-footage movie about a documentary filmmaker investigating her brother's disappearance 20 years earlier on Vancouver Island. Writer/producer Sean Harris Oliver and DP Justin Sebastian shot the horror film in 12 days, then independently released it into theaters.
Key Podcast Highlights:
-How cinematographer Justin
Two horror films, one DP: They Will Kill You, Faces of Death
The Cinematography Podcast Episode 353: Isaac Bauman
Cinematographer Isaac Bauman captured the visual identities of two different horror movies in They Will Kill You and Faces of Death. Both films are currently in theaters. Bauman discusses the intricate technical gymnastics required to give each film a distinct, cinematic feel.
Key Podcast Highlights:
-Carefully developing the look of They Wil
Ted Hope, Hope For Film: the rebirth of independent cinema
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
Two DPs, one vision: creating the look of Pluribus
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 per
Lawrence Sher, ASC reimagines Frankenstein for The Bride!
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 u
2026 Academy Awards nominations with Jenelle Riley
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
James Whitaker: Good Luck Have Fun Don’t Die’s visual chaos
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.
Danny Cohen, BSC: Slow Horses ‘dirty London’ cinematography
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 ba
Into the Dark Ages: the gothic vision of The Dreadful
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 ta
Special Episode: Frederick Wiseman, acclaimed filmmaker
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
Adolpho Veloso: capturing memory, naturalism in Train Dreams
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
Sean Bobbitt on 28 Years Later: The Bone Temple’s madness
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 Temp
Russell Carpenter, ASC: Lighting the world of Fire and Ash
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 Bes
DP Michael Bauman on One Battle After Another’s improv style
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 divers
Amy Vincent, ASC on the visual heart of Song Sung Blue
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 creat
Caleb Heymann: the cinematic playground of Stranger Things
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 thro
Steve Yedlin’s gothic look for Knives Out: Wake Up Dead Man
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 v
BONUS EPISODE: Sinners DP Autumn Durald Arkapaw, ASC
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 brother
Bryan Fuller and Nicole Whitaker: Dust Bunny’s nightmare whimsy
The Cinematography Podcast Episode 338: Bryan Fuller and Nicole Hirsch Whitaker
Bryan Fuller has one of the most recognizable visual signatures in modern television. Whether he’s dealing with a forensic pathologist who bakes pies (Pushing Daisies) or a sophisticated cannibal (Hannibal), his work consistently balances the grotesque with the gorgeous. His style of hyper-stylized morbid surrealism w
Eric Lin and Lyle Vincent tell a tragic story in Rosemead
The Cinematography Podcast Episode 337: Eric Lin and Lyle Vincent
Rosemead tells the tragic, true story of Irene (Lucy Liu), a terminally ill single mother, and her son, Joe (Lawrence Shou). As Joe battles schizophrenia and urges toward violence, Irene is left isolated from her Chinese American community in Southern California, facing impossible choices without a safety net.
After decades behind
Alice Brooks, ASC returns to Oz in Wicked: For Good
The Cinematography Podcast Episode 336: Alice Brooks, ASC
For cinematographer Alice Brooks, ASC, shooting both Wicked and Wicked: For Good concurrently was a huge feat. The giant sets, precise camerawork and complex, live lighting cues for the musical numbers required detailed planning and prep. But first, Alice and her long-time collaborator, director Jon M. Chu, broke down the scripts and discu
DP Jess Hall’s retro look on The Fantastic Four: First Steps
The Cinematography Podcast Episode 335: Jess Hall
Cinematographer Jess Hall, ASC, BSC reunited with director Matt Shakman to bring the retro-future world of The Fantastic Four: First Steps to life. The two had collaborated on several projects together, such as Marvel's Wandavision. “I have a lot of faith in Matt Shakman,” says Jess. “I went into it with a lot of goodwill behind me. I was very awa
Jeff Cutter: melding the alien worlds of Predator: Badlands
The Cinematography Podcast Episode 334: Jeff Cutter
Cinematographer Jeff Cutter first collaborated with director Dan Trachtenberg on 10 Cloverfield Lane. Their successful partnership continued on the Predator prequel, Prey, which became Hulu's most-watched streaming premiere. Jeff and Trachtenberg found they had a strong bond over their mutual interests, such as films like Die Hard with “muscular
Jeff Cronenweth, ASC: stepping out of the grid on TRON: ARES
The Cinematography Podcast Episode 333: Jeff Cronenweth
Two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC is known for visually defining modern classics like Fight Club and The Social Network. With TRON: ARES, he melded three distinct realities: the digital Grid, the gritty real world, and the retro feel of the grid in the original TRON.
Jeff’s involvement with TRON: ARES began throu
Cinematographer Dan Laustsen brings Frankenstein to life
The Cinematography Podcast Episode 332: Dan Laustsen
For nearly 30 years, cinematographer Dan Laustsen, ASC, DFF and director Guillermo del Toro have produced one of cinema's most visually distinctive collaborations. Sharing a deep affinity for rich colors and dark themes, their partnership has yielded five films characterized by an unmistakable aesthetic.
Del Toro's idea for Frankenstein had be
Tobias Datum: creating the sci-fi world of Murderbot
The Cinematography Podcast Episode 331: Tobias Datum
Murderbot is the story of a security unit, part-human and part-machine, that has hacked its governing module to act in its own free will: mainly to be left alone to watch TV shows. Cinematographer Tobias Datum views the Apple TV+ series as a visual exploration of a synthetic being's journey toward humanity and self-discovery.
Tobias worked clo
Pål Ulvik Rokseth: forging the fiery world of The Lost Bus
The Cinematography Podcast Episode 330: Pål Ulvik Rokseth
Pål Ulvik Rokseth, the Norwegian cinematographer behind director Paul Greengrass's gripping drama The Lost Bus, faced a singular challenge: how to transform one of the deadliest wildfires in California history into a visceral, cinematic character. The film dramatizes the true story of bus driver Kevin McKay and schoolteacher Mary Ludwig. T
Ula Pontikos, BSC captures unease in The Man in My Basement
The Cinematography Podcast Episode 329: Ula Pontikos, BSC
The psychological thriller The Man in My Basement is about Charles Blakey (Corey Hawkins), a Black man in Sag Harbor, New York, who is down on his luck, unemployed, and facing foreclosure on his ancestral family home. In a desperate financial situation, Charles accepts a bizarre and extremely lucrative offer from a mysterious, wealthy whit
Cinematographer Kira Kelly, ASC on the unique visuals of HIM
The Cinematography Podcast Episode 328: Kira Kelly, ASC
Cinematographer Kira Kelly, ASC, had a rare opportunity in the movie HIM: exploring the genres of horror and sports, which are not usually combined. She and director Justin Tipping focused their discussions on Chronic Traumatic Encephalopathy (CTE), specifically how football-related brain injuries often cause hallucinations. This condition
Bryn Mooser and Paul Trillo of Asteria on AI in filmmaking
The Cinematography Podcast Episode 327: Bryn Mooser and Paul Trillo
Bryn Mooser and Paul Trillo of Asteria on AI in filmmaking
Asteria, an AI-driven film and animation studio, recently merged with Moonvalley, an AI research firm, to create generative video technology for filmmakers. Their AI model, Marey, is a visual intelligence model trained only on data that is fully licensed by the company.
Matty Libatique: the NY of Highest 2 Lowest, Caught Stealing
The Cinematography Podcast Episode 326: Matthew Libatique, ASC
Cinematographer 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 O
John Conroy on grounding the political thriller Zero Day
The Cinematography Podcast Episode 325: John Conroy, ASC, ISC
For 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
Alien: Earth director/DP Dana Gonzales reimagines a classic
The Cinematography Podcast Episode 324: Producer, Director, DP Dana Gonzales, ASC
Dana 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
Larkin Seiple on shaping the horror of Weapons
The Cinematography Podcast Episode 323: Cinematographer Larkin Seiple
Cinematographer 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
Matthew Chuang: bringing an authentic look to Chief of War
The Cinematography Podcast Episode 322: Matthew Chuang, ACS
Chief 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, A
Art of the one shot: Adolescence cinematographer Matt Lewis
The Cinematography Podcast Episode 321: Cinematographer Matt Lewis
In 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 th
Cinematographer Matt Ball’s recipe for Tucci in Italy
The Cinematography Podcast Episode 320: Cinematographer Matt Ball
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. “A big part of the success of the show is obviously Stan, but Stan wa
Art of Deception: DP Christopher Ross, The Day of the Jackal
The Cinematography Podcast Episode 319: Christopher Ross, BSC
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 ear
Michael Dallatorre: creating claustrophobia in Locked
The Cinematography Podcast Episode 318: Michael Dallatorre
In 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 c
Mihai Mălaimare Jr.: creating poetic reality in Megalopolis
The Cinematography Podcast Episode 317: Mihai Mălaimare Jr.
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
Adam Newport-Berra on capturing chaos in The Studio
The Cinematography Podcast Episode 316: Adam Newport-Berra
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
Stephen Murphy, BSC, ISC: embracing darkness in Say Nothing
The Cinematography Podcast Episode 315: Stephen Murphy
The 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' involvem
Color, light and menace: DP Kim Ji-yong, Squid Game season 2
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, c
Luke Cormack’s unseen magic on David Blaine: Do Not Attempt
The Cinematography Podcast Episode 314: Luke Cormack
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
Christophe Nuyens on crafting the world of Andor: Season 2
The Cinematography Podcast Episode 313: Christophe Nuyens
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 lig
The Last of Us Season 2 DPs Ksenia Sereda & Catherine Goldschmidt
The Cinematography Podcast Episode 312: Ksenia Sereda & Catherine Goldschmidt
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 Elli
Jacques Jouffret, ASC: American Primeval’s frigid frontier
The Cinematography Podcast Episode 311: Jacques Jouffret, ASC
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
Descent into darkness: Baz Irvine on Silo Season 2
The Cinematography Podcast Episode 310: Baz Irvine, BSC, ISC
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 unc
Scott Siracusano’s inventive cinematography on Control Freak
The Cinematography Podcast Episode 309: Scott Siracusano
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 d
Jessica Lee Gagné: Pushing Boundaries in Severance Season 2
The Cinematography Podcast Episode 308: Jessica Lee Gagné
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 collaboratio
Special: Hacks DP Adam Bricker, Live Podcast in Las Vegas
Special: Adam Bricker, ASC
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 do
Johanna Coelho: creating intense ER reality on The Pitt
The Cinematography Podcast Episode 307: Johanna Coelho
As the cinematographer of all 15 episodes of The Pitt, Johanna Coelho helped create a fresh take on the medical genre's visual style. Executive producer John Wells wanted a feeling of constant urgency and realism to the hospital drama. They chose to treat The Pitt as if it were live theater, meticulously choreographing and blocking every acti
Daredevil: Born Again DPs Hillary Spera and Pedro Millán
Daredevil: Born Again cinematographers Hillary Fyfe Spera and Pedro Gómez Millán were both admirers of the original Daredevil on Netflix. As the lead cinematographer on the new series, Hillary wanted to bring something new to the look of the story. “The goal was to evolve it, to bring it to a more cinematic realm,” she says. This vision was achieved through the use of anamorphic lenses, lending a
Last Take: Rust and the Story of Halyna director Rachel Mason
Rachel Mason's documentary, Last Take: Rust and the Story of Halyna, is not a sensationalist recounting of tragedy. It's a deeply personal exploration of the life and untimely death of cinematographer Halyna Hutchins, whose life was tragically cut short on the set of Rust. Rachel, a friend and fellow filmmaker, centers the narrative on Halyna herself, weaving together interviews with her friends a
Grace Point indie film director Rory Karpf & DP Al Francesco
For director Rory Karpf, a core philosophy is that things are going to change- a lesson learned from years of documentary filmmaking. This flexibility proved invaluable when crafting his indie feature, Grace Point. Adapted from a larger, more ambitious script, Grace Point tells the story of a young man on his way to a remote drug rehab. His journey takes a dark and unexpected turn when he finds hi
Stephen Murphy, BSC: balancing love and terror in Heart Eyes
Heart Eyes isn't your typical horror film or romantic comedy. It's a genre-bending fusion of sweet romance and chilling slasher horror. Cinematographer Stephen Murphy, BSC, ISC has crafted a film that authentically captures the tone of both genres. This ambitious goal required a nuanced approach to lighting and color, a visual language that could seamlessly transition between heartwarming romance
Andrew Bird: editing The Seed of the Sacred Fig in secret
Mohammad Rasoulof, the Iranian director whose films have consistently challenged the authority of the Islamic Republic, has faced imprisonment and persecution for his artistic vision. While serving time in Iranian prison for his films A Man of Integrity and 2020’s There Is No Evil, Rasoulof began to think about his next film, The Seed of the Sacred Fig. He was released from prison and began filmin
2025 Academy Awards nominations with Jenelle Riley, Variety
Long-time friend and colleague Jenelle Riley of Variety magazine chats with Ben and Illya for our SIXTH 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, the BAFTAs as a predictor for this year's Oscars, the AS
Paul Guilhaume, AFC: opera and realism in Emilia Pérez
Emilia Pérez is about a Mexican cartel leader, Manitas Del Monte (Karla Sofía Gascón) who hires a lawyer (Zoe Saldaña) to help him disappear, undergo gender affirming surgery, and transition into a woman. But even as Emilia Pérez, she is unable to fully leave her dark criminal past behind. Director Jacques Audiard saw the film as a unique blend of gritty drama like Amores Perros and an opera. He a
Sugarcane filmmakers Emily Kassie and Christopher LaMarca
Sugarcane is a powerful documentary film that delves into the dark history of abuse and murder at a Canadian residential school. These Catholic boarding schools in North America and Canada have caused lasting trauma across Indigenous communities. The film centers around the Williams Lake First Nation in British Columbia, where a ground-breaking investigation into the St. Joseph's Mission residenti
Pierre Gill, CSC: lighting the darkness in Dune: Prophecy
Dune: Prophecy, the six-episode prequel series to the Dune films, now streaming on Max, delves into the origins of the Bene Gesserit. The series is set 10,000 years before the events of the movies. Bringing this ancient future to life was just one of the challenges faced by cinematographer Pierre Gill, CSC, a veteran of science fiction and period pieces alike.
Pierre, who has a deep affinity for
The beauty of The Brutalist: Lol Crawley, BSC
The Brutalist tells the story of László Tóth (Adrian Brody) a Hungarian-Jewish architect who survives the Holocaust and emigrates to the United States. He meets a wealthy industrialist, Harrison Lee Van Buren (Guy Pierce), who recognizes his talent, and commissions him to design a grand community center. The opportunity presents both a chance for redemption and a descent into a dangerous power dyn
Rina Yang, BSC: Igniting The Fire Inside
The Fire Inside is the true story of Claressa "T-Rex" Shields, a boxer from Flint, Michigan and her trainer, Jason Crutchfield. She became the first American woman to win Olympic gold in boxing. The Fire Inside is the feature directorial debut for Rachel Morrison, the first woman cinematographer nominated for an Academy Award.
Cinematographer Rina Yang, BSC enjoyed the ability to speak with direc
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