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TV & Film

The Cinematography Podcast

Updated 16 days ago

TV & Film
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Illuminating 24 Time Per Second

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Illuminating 24 Time Per Second

iTunes Ratings

70 Ratings
Average Ratings
67
0
0
1
2

Great Pod!

By wgmeese - Aug 22 2019
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Illya Friedman rocks and so does this podcast, keep ‘em coming!

Entertaining and informative

By Ray Rushing - Jan 26 2015
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Every show delivers such great content. Must listen for anyone starting out as a DP.

iTunes Ratings

70 Ratings
Average Ratings
67
0
0
1
2

Great Pod!

By wgmeese - Aug 22 2019
Read more
Illya Friedman rocks and so does this podcast, keep ‘em coming!

Entertaining and informative

By Ray Rushing - Jan 26 2015
Read more
Every show delivers such great content. Must listen for anyone starting out as a DP.
Cover image of The Cinematography Podcast

The Cinematography Podcast

Latest release on Oct 20, 2020

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Illuminating 24 Time Per Second

Rank #1: Ep 9 – Bill Totolo

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The Cinematography Podcast Episode 9 - Bill Totolo
The long form Cinematography Podcast is back with an outstanding interview from Director of Photography Bill Totolo.

The War Story is from Roberto Schaefer, ASC, AIC

Illya's Short End this week is "TV."

Ben's Short End is the Podcast "You Must Remember This", the EYEDIRECT teleprompter and the Adobe Morph-Cut Transition
Listen to the Podcast

Feb 25 2016

2hr 5mins

Play

Rank #2: Ep 19 – Rachel Morrison, ASC – Talks about her career, Mudbound, Black Panther, Fruitvale Station, Sundance and more!

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The Cinematography Podcast Episode 19 - Rachel Morrison, ASC
Cinematographer Rachel Morrison, ASC.

Rachel Morrison's meteoric rise over the past 5-years includes credits on festival darlings, Netflix originals, and a Marvel studio tentpole. She is one of the most successful young cinematographers working today, and the first female cinematographer ever nominated for an Academy Award.

The War Story is from Dan Kneece

Illya's short End this week is the Emotimo motion control slider as used on the Sia Christmas music videos.

Ben's short End this week is the screenwriting App Causality.

Podcast Credits:

Episode Sponsors
Hot Rod Cameras
Arri

Editor in Chief:  Illya Friedman
Host: Ben Rock
Producer: Alana Kode
Editor: Mike Willbanks
Composer: Kays Alatractchi
Subscribe to the Podcast on iTunes or click on the link below to listen here

Jan 29 2018

Play

Rank #3: Ep 10 – Roberto Schaefer, ASC, AIC

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The Cinematography Podcast Episode 10 - Roberto Schaefer, ASC, AIC
The Cinematography Podcast returns with an outstanding interview with Cinematographer Roberto Schaefer, ASC, AIC.
Follow Roberto on Instagram @19lefty69

The War Story is from Charles Papert
Follow Charles on Instagram @charlespapert

Illya's Short End this week is "http://hotrodcameras.com/catalogsearch/result/?cat=0&q=quasar+science"target="_blank">Quasar Science Lighting."

Ben's Short End is the Android/iOS app Fyuse "Billions"
Listen to the Podcast

Jul 14 2016

Play

Rank #4: Ep 33 – Matthew Libatique, ASC – Two time Academy Award nominated Cinematographer talks A Star is Born, craft, philosophy, collaborating with Bradley Cooper, Darren Aronofsky, Spike Lee and Jon Favreau

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The Cinematography Podcast Episode 33 - Matthew Libatique, ASC
The filmography of two time Academy Award nominated cinematographer Matthew Libatique, ASC is filled with fantastic looking movies.  Including films such as the recent smash hit, A Star is Born, indie festival darling, Pi, Marvel franchise films like Iron Man, as well as commercial and critically successful films like Black Swan.  In this interview, Illya Friedman sits down with Matty to discuss his career behind the camera and his collaborations with several of the most successful directors working in Hollywood today, such as Bradley Cooper, Spike Lee, Darren Aronofsky and Jon Favreau.   
Find Matthew Libatique, ASC on IMDB, and on Instagram.Ben's Short End is the Amazon series, Lorena Illya's Short End are Skateboard Decks from Kodak/Girl Skateboard Company & Spike Jones.Podcast Credits:Editor in Chief:  Illya Friedman / Contributors PageHost: Ben Rock / Contributors PageProducer: Alana KodeComposer: Kays Al-AtractchiEditor: Ben Katz
Episode SponsorsHot Rod Cameras
Subscribe to the Podcast on iTunes or click on the link below to listen here

Mar 08 2019

42mins

Play

Rank #5: Alik Sakharov, DP turned director, on Game of Thrones, House of Cards, The Sopranos, Ozark, and the director/DP relationship

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Alik Sakharov shot many feature films and television series such as The Sopranos, Rome, and Game of Thrones before moving into the director's chair. Alik feels cinematography, directing and writing must work together to create a story, and it's difficult to separate one from the other. He is currently executive producer of the Netflix series The Witcher.

Dec 25 2019

1hr 19mins

Play

Rank #6: Ep 35 – Linus Sandgren, ASC, FSF – The Oscar Winning Cinematographer Talks First Man, Damien Chazelle, Gus Van Sant, David O. Russell and Storyboarding

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Swedish cinematographer Linus Sandgren talks to Illya about his extensive career working with high profile directors like Damien Chazelle on First Man and La La Land, Gus Van Sant on Promised Land, and David O. Russell on the films American Hustle and Joy. For the film First Man, Linus used 16mm, 35mm and IMAX formats to portray different looks throughout the movie. While working on Promised Land, he and director Gus Van Sant decided to use Super 35mm 1.3x anamorphic. He also discusses lighting choices and his passion for drawing his own storyboards.

May 23 2019

40mins

Play

Rank #7: Lawrence Sher, ASC, talks about creating the look of Joker with director Todd Phillips

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When setting out to make Joker, Lawrence Sher and director Todd Phillips decided to go for an intimate, 70's style of movie that's character-driven, rather than the large scale, elaborate looks typical of today's comic book superhero/villain films. Joaquin Phoenix had some leeway to improvise and play with the character. Larry and Todd Phillips' background of working with comedians on movies such as The Hangover made them feel comfortable with improvisation.

Dec 10 2019

55mins

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Rank #8: Ep 11 – Charles Papert

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The Cinematography Podcast Episode 11 - Charles Papert
The Cinematography Podcast returns with Cinematographer Charles Papert.

Perhaps best known as the DP of the series Key & Peele, Charles Papert has a long career in movies and television including shooting one of the most memorable moments in movie history, that famous scene in "Office Space."

See what Keegan Michael Key and Jordan Peele have to say about Charles in this episode of Backlight Tour

Follow Charles on Instagram @charlespapert

The War Story is from Tony Libertore

Illya's Short End this week is "Syrp."

Ben's Short End is the Showtime original series "Billions."
Listen to the Podcast

Sep 05 2016

1hr 39mins

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Rank #9: Ep 21 – Larry Fong, ASC – Talks Kong: Skull Island, Watchmen, Zack Snyder, Gal Gadot, shooting Super 8 with JJ Abrams and much more

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Larry Fong, ASC has shot some of the biggest studio summer movies of  all time.   In this fantastic interview Larry discusses highlights from his filmography including early work on music videos, shooting the the TV series Lost, major blockbusters like 300, Watchmen, Dawn of Justice, Super 8 and Kong: Skull Island with directors Zack Snyder, JJ Abrams, and Jordan Vogt-Roberts.

Mar 20 2018

1hr 39mins

Play

Rank #10: M. David Mullen, ASC: Emmy-winning cinematographer for The Marvelous Mrs. Maisel, films Twin Falls Idaho, Northfork, and more

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David Mullen got his start making straight-to-video low-budget genre movies. He went on to shoot six films with Michael and Mark Polish, including Twin Falls Idaho and Northfork. David's cinematography on the Amazon show The Marvelous Mrs. Maisel recently earned him an Emmy award. Season 3 of The Marvelous Mrs. Maisel begins December 6th on Amazon Prime.

Dec 03 2019

2hr 7mins

Play

Rank #11: Director and Cinematographer Ellen Kuras, ASC: Talks Swoon, I Shot Andy Warhol, Eternal Sunshine of the Spotless Mind, Summer of Sam, Ozark, Wormwood, Catch-22 and more

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Ellen Kuras believes that following your gut and listening to your inner voice makes you a great filmmaker. Ellen got her start shooting documentary and indy movies such as “Swoon,” “I Shot Andy Warhol” and “Personal Velocity,” plus several films with Spike Lee including “Bamboozled” and “Summer of Sam.” She discusses working with Michel Gondry, the unique challenges of shooting “Eternal Sunshine of the Spotless Mind,” working with documentarian Errol Morris on “Wormwood” and shooting the Netflix series “Ozark.” Ellen also directed and shot her documentary “The Betrayal-Nerakhoon,” which received an Academy Award nomination. Her current work includes directing some episodes of Hulu's “Catch-22” and directing the Netflix series “Umbrella Academy.”

Sep 03 2019

2hr 6mins

Play

Rank #12: Ep 32 – Robbie Ryan, BSC, ISC – Oscar nominated Cinematographer for The Favourite, talks shooting with natural light, short films and more

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The Cinematography Podcast Episode 32 - Robbie Ryan, BSC, ISC
“Cinematographer's cinematographer" Robbie Ryan, BSC, ISC discusses his Academy Award nominated work on “The Favourite.”  He breaks down using natural light to compose shots and the love of making shorts.
Find Robbie Ryan on IMDBBen's Short End is Blackmagic Design DaVinci ResolveIllya's Short End is Too Funny To Fail: The Life and Death of The Dana Carvey Show, a documentary onHuluPodcast Credits:Editor in Chief:  Illya FriedmanHost: Ben RockProducer: Alana KodeComposer: Kays Al-AtractchiEditor: Ben Katz
Episode SponsorsHot Rod Cameras
Subscribe to the Podcast on iTunes or click on the link below to listen here

Feb 25 2019

40mins

Play

Rank #13: Phedon Papamichael, ASC talks Ford v. Ferrari, his love of racing and classic cars, working with director James Mangold

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Phedon Papamichael and director James Mangold created an exciting, visceral experience of auto racing for Ford v. Ferrari, rather than the basic panning wide shots used in sports broadcasting or car commercials. Phedon had to shoot extremely close to the speeding cars in order to capture the effect of high velocity.

Dec 17 2019

43mins

Play

Rank #14: Ep 20 – Dan Kneece – his career, Quentin Tarantino, David Lynch and the early days of Steadicam

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The Cinematography Podcast Episode 20 - Dan Kneece
Cinematographer Dan Kneece

Dan Kneece spent nearly 3 decades as a Steadicam Operator and has worked on many A-list productions. Now a Director of Photography, Dan is one of the nicest and most genuine people you should ever be lucky enough to meet. In this interview Dan shares his story with us.

The War Story is from Larry Fong, ASC

Illya's short End this week is Large Format Cinema Cameras read Jim Mathers recent round up of the new Large Format cameras.

Ben's short End this week is the podcast Dirty John.

Podcast Credits:

Episode Sponsors
Hot Rod Cameras
Arri

Editor in Chief:  Illya Friedman
Host: Ben Rock
Producer: Alana Kode
Editor: Mike Willbanks
Composer: Kays Alatractchi
Subscribe to the Podcast on iTunes or click on the link below to listen here

Mar 12 2018

1hr 40mins

Play

Rank #15: Natasha Braier, ASC: talks Honey Boy, Neon Demon, Gloria Bell and more

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Natasha Braier is known for her eye-popping, bold visuals and enjoys shooting in an experimental style. She seeks out directors with a strong voice who are willing to take artistic risks such as Nicolas Winding Refn on Neon Demon, Sebastian Lelio on Gloria Bell, and Alma Har'el on the upcoming Honey Boy.

Oct 29 2019

1hr 34mins

Play

Rank #16: Ep 27 – Shane Hurlbut, ASC talks DSLR Revolution, His Working Process, Collaborating with Director Gabriele Muccino and Professional Gimbals.

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The Cinematography Podcast Episode 27 - Shane Hurlbut, ASC
DP, and force of nature, Shane Hurlbut, ASC is our featured guest.  In this Epic interview Shane talks about the DSLR Revolution, working on a nuclear submarine, his process for creating the look of a movie, collaborating with Director Gabriele Muccino on Fathers & Daughters and much, much more.
Check out:
Shane's blog, here
Official Site and Reel, here
Shane's "Inner Circle" Film Education and Training, here
Shane's Podcast, here
Also mentioned in the interview:
Act of Valor
Fathers & Daughters
The War Story is from film critic Leonard Maltin.

Ben's Short End this week is The Other Side of the Wind, Orson Welles final movie, completed posthumously and released with zero fanfare on Netflix, and the accompanying documentary, A Final Cut For Orson: 40 Years in The Making.

Illya's Short End this week is DJI Osmo Pocket, you can pre-order at Hot Rod Cameras.

Podcast Credits:

Episode Sponsors
Hot Rod Cameras

Arri
Editor in Chief:  Illya Friedman
Host: Ben Rock
Producer: Alana Kode
Editor: Benjamin Katz
Composer: Kays Alatractchi
Subscribe to the Podcast on iTunes or click on the link below to listen here

Dec 10 2018

1hr 47mins

Play

Rank #17: Cinematography Podcast – Backlight Ep.1

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Backlight is a new short-format program from the makers of the Cinematography Podcast. New episodes expected to arrive on iTunes every Monday.
Listen to the Podcast

Jan 04 2016

9mins

Play

Rank #18: Ep 13 – Roman Vas’yanov – On film school, working with David Ayer and Suicide Squad

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The Cinematography Podcast Episode 13 - Roman Vas'yanov
The Cinematography Podcast returns with featured guest Roman Vas'yanov.

Perhaps best known for his work with director David Ayer, including the features End of Watch, Fury and Suicide Squad, Roman Vas'yanov has an extremely impressive body of work.

Follow Roman Vas'yanov

The War Story is from Rodney Charters, ASC

Illya's Short End this week is "Patriot."

Ben's Short End is "Shout Factory"
Podcast Credits:

Editor in Chief:  Illya Friedman
Host: Ben Rock
Editor: Mike Willbanks
Composer: Kays Alatractchi
Listen to the Podcast on iTunes or click on the link below

May 08 2017

1hr 30mins

Play

Rank #19: Ep 3 – Frazer Bradshaw

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The Cinematography Podcast Episode 3 - Frazer Bradshaw

In this episode Ben Rock interviews Director of Photography and Director Frazer Bradshaw.

The War Story is from Director of Photography Abe Martinez

Ben's Short End is the Blackmagic 4K camera. And Illya's Short End is the NAB convention which runs April 7-10, 2014
Listen to the Podcast

Mar 31 2014

1hr 47mins

Play

Rank #20: Ep 37 – Seamus McGarvey, ASC, BSC – Multi-Oscar Nominated Cinematographer Talks Joe Write, Avengers, Nocturnal Animals, Atonement, High Fidelity and The Greatest Showman

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The Cinematography Podcast Episode 37

Seamus McGarvey, ASC, BSC

Talks Bad Times at the El Royale, shooting Black Mirror's “Nosedive” episode with director Joe Wright, The Avengers, Nocturnal Animals, Atonement, High Fidelity and The Greatest Showman.

Mulit-Academy Award nominee Seamus McGarvey sits down with Illya for an intimate conversation about his work on High Fidelity, shooting the episode “Nosedive” for the Netflix series Black Mirror with director Joe Wright, and how much he loved working on Bad Times at the El Royale. Seamus discusses how each film can be a very different creative collaboration with each director, and the importance of creating an intimacy between the cinematographer, the director and the actors, no matter how big or small the movie.

Instagram: @seamiemc

Sponsored by Arri- Check out the new Arri Alexa Mini LF

Ben's short end: DC Universe canceling Swamp Thing the day it premiered.

DC Universe streaming service

Save Swamp Thing on Twitter: #SaveSwampThing

Illya's short end: The trailer for Brittany Runs a Marathon and Amazon's marketing for the movie feels like a misfire.

Ben Rock: @neptunesalad twitter

@bejamin_rock instagram

Illya Friedman: @hotrodcameras

Kays Alatrachi: www.musicbykays.com

Editor: Abby Corbett

Jun 24 2019

34mins

Play

Director Ángel Manuel Soto on Charm City Kings, working with young actors, and directing a stunt-heavy film

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When director Ángel Manuel Soto received the script for Charm City Kings, he found a connection in the story of disenfranchised youth growing up in a marginalized community like Baltimore- he himself grew up on the streets of Santurce in Puerto Rico. The movie is a coming of age story centered on a young teen named Mouse and his two buddies, who are determined to join the subculture of dirt bike stunt riders. The film, with a story by Barry Jenkins, is based on a documentary called 12 O'Clock Boys. Ángel wanted the film to be authentic to this rider culture. The bikers in the movie were all real and did their own stunts, which look amazing. His biggest inspiration for the film was Baltimore: shooting on location, working with locals as extras, and keeping it authentic. Ángel worked with cinematographer Katelin Arizmendi to create a raw and naturalistic look. He found it a pleasure to be able to work with such talented actors like Teyonah Parris, Will Catlett, and hip hop artist Meek Mill, who were proactive and prepared with what they wanted to bring to the characters. Ángel had to work within the limited hours for the young cast, but Jahi Di'Allo Winston as Mouse was very natural and intuitive, and all three child actors had chemistry from day one, which is hard to find.

You can watch Charm City Kings streaming now on HBO Max

Find Ángel Manuel Soto: http://angelmanuelsoto.com/
Instagram: @alohemingway

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

IT'S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/

TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the "How To Vote" breakdown we just posted! We will randomly select a winner from the comments. We're expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep97/

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Oct 20 2020

44mins

Play

Phedon Papamichael, ASC on The Trial of the Chicago 7, working with writer/director Aaron Sorkin, and more

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Phedon Papamichael's latest project is The Trial of the Chicago 7, written and directed by Aaron Sorkin. The bulk of the story centers on the 1969 trial of seven men accused of inciting a riot in the park outside of the 1968 Democratic National Convention in Chicago. In Phedon's view, a film is actually made three times: it's conceived in the writing process, developed during principal photography, then reinvented and finalized in the editing process. When working with a director and writer like Aaron Sorkin, the way the film is scripted is exactly what he wants to see on the screen. The person speaking must be on camera, and specific shots are needed to sync with the rhythm of his words, like a poem. Sorkin is not a technical filmmaker, and after their initial meeting, Phedon knew Sorkin would rely heavily on him for creating the visuals. Since the majority of the action takes place in the courtroom, Phedon had to generate visual interest, making sure they had the right lenses and angles to enhance the drama, and to get good reaction shots of the jury and spectators. He used the lighting within the courtroom to enhance the moods and tension, and adjusted the light coming through the windows to reflect the changing seasons. When shooting the protests in the park and the violent clashes with the police, the camera crew went hand-held documentary style. Some of the footage from the protests was actually intercut with real footage taken from a film called Medium Cool, a combination documentary/fiction film by famed cinematographer Haskell Wexler, who shot actual footage of the riots in the park from the 1968 Democratic National Convention.

You can watch The Trial of the Chicago Seven streaming now on Netflix.

Find Phedon Papamichael: https://www.phedonpapamichael.com/
Instagram: @papa2

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

IT'S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/

TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the "How To Vote" breakdown we just posted! We will randomly select a winner from the comments. We're expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep96/

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Oct 17 2020

58mins

Play

DP Eric Branco on The 40-Year-Old Version, Clemency, shooting black and white film, working with director Radha Blank, and more

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Cinematographer Eric Branco discovered early on that he enjoyed translating people's stories into visuals. Eric started out as an actor in high school, but quickly realized no one had any interest in holding the camera except himself. While in film school, he developed an eye and shot several student projects, then found work on film sets in New York as a grip and gaffer while shooting short films on the side.

Eric's latest film, The 40-Year-Old Version was shot almost entirely on black and white film stock. Director Radha Blank was very firm that the movie be black and white- in fact, when Eric received the script, it read “A New York tale in black and white.” So Eric came with a suitcase full of black and white photo books of New York when he and Radha met, which helped them arrive at The 40-Year-Old Version's look: a matte texture with a prominent grain. Eric ran several tests to find the perfect film stock for the movie, and shot it handheld with vintage lenses. The movie is a funny, semi-autobiographical story starring Blank as a struggling, almost-40 playwright who is determined not to sell out or compromise her artistic principles and reinvigorates her creativity by becoming a hip-hop artist. The 40-Year-Old Version won the U.S Dramatic Competition Directing Award for Blank at the Sundance Film Festival in 2020. For Eric, it was the third film he'd shot to go to Sundance in as many years. He felt honored to be the cinematographer of Clemency, which won the Grand Jury Prize at Sundance in 2019. Written and directed by Chinonye Chukwu, Clemency took a long time to get off the ground before Alfre Woodard was cast in the lead role.

You can watch The 40-Year-Old Version streaming on Netflix.

Find Eric Branco: https://ericbrancodp.com/
Instagram: @ericbranco

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

IT'S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/

TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the "How To Vote" breakdown we just posted! We will randomly select a winner from the comments. We're expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep95/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Oct 13 2020

58mins

Play

War Stories Vol. 4: Tales from the Set featuring Quyen Tran, Mike Figgis, Dan Laustsen, Abe Martinez, Bill Wages, Larry Fong, Vanja Černjul, Rachel Morrison, Linus Sandgren, Stefan Ciupek, Matty Libatique

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Special: The Cinematography Podcast- War Stories Vol. 4

In our fourth War Stories Special, we feature eleven guest's harrowing, hilarious or heartwarming stories they had while on set, or a formative career experience that led them to cinematography.

Find full interviews with each of our featured cinematographers in our archives!

Cinematographer Quyen Tran on her life-changing experience after 9/11 in New York; Mike Figgis and a nearly disastrous screening of Timecode; Dan Laustsen tells the story of how his sister influenced him to go to film school; Abe Martinez serendipitously found the perfect house while staying in Kenya; Bill Wages was dissuaded early on from becoming a National Geographic Magazine photographer; Larry Fong talks about getting his big break with JJ Abrams on Lost; Vanja Černjul on his secret to decompressing after wrapping on a big shoot; Rachel Morrison's story of making a huge mistake as a set P.A. with Matty Libatique; Linus Sandgren on his early days working as a gaffer with a seasoned electrician; Stefan Ciupek talks about the blooper in the single-take film, Russian Ark; and finally, Matty Libatique on getting real concert footage for A Star Is Born.

Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram!

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories4/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Oct 09 2020

33mins

Play

Rodrigo Prieto, ASC on The Glorias, Frida, working with Julie Taymor, Martin Scorsese, Alejandro González Iñárritu

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When Rodrigo Prieto meets with a director, he comes with a clean slate and a present state of mind to hear their vision. Rodrigo first met Julie Taymor in New York to talk about filming Frida. He had just finished shooting Amores Perros with director Alejandro González Iñárritu and decided to move to Los Angeles from Mexico City. For Rodrigo, Frida Kahlo's work was very influential, and he was eager to work on a film about her life. He found that Julie Taymor loves collaborating with her team on her movies and is open to other's input, but knows what she wants and pushes for it. Working with a theatrical director means her ideas tend to be more representative and symbolic, rather than the naturalistic realism seen in most movies. For The Glorias, Rodrigo and Julie had to determine how realistically they wanted to portray some of the events in Gloria Steinem's life. In one scene, Rodrigo and the crew had to recreate the tornado from The Wizard of Oz, with the four Glorias as the witches on brooms. The crew built a 70's era TV studio, rigged lights and a green screen with a camera on a crane and the actresses on wires on brooms. They also decided early on to shoot the bus scenes in black and white, with color sequences showing outside the windows.

You can watch The Glorias streaming on Amazon Prime.

A new color timed version of Amores Perros will be coming out from Criterion Collection.

Find Rodrigo Prieto, Instagram: @rpstam

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep94/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Oct 06 2020

1hr 7mins

Play

Director Julie Taymor on her new biopic film, The Glorias, her work on Frida, Titus, Across the Universe and the Broadway theatrical production of The Lion King

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The incredibly talented Julie Taymor is nearly an EGOT- she's won an Emmy, a Grammy, multiple Tony awards, and was Oscar-nominated for her work. She is a playwright, director, songwriter, and costume designer for both the stage and film. Julie is a rare thing- a theater director who can also helm amazing films. She thinks this is because most theater directors are really not very visual- they focus more on acting and dialog. When directing her films, Julie feels it's important to be selective and understand what you can achieve with a camera such as with lenses and lighting, vs. what can be done on a stage like The Lion King with giant set pieces, puppets, props and costumes.

Julie's latest film, The Glorias, is a biopic about women's rights activist and feminist icon, Gloria Steinem. Julie worked with cinematographer Rodrigo Prieto and many visual effects artists to create several surrealist fantasy sequences in The Glorias. The film has a very imaginative and creative way of telling Gloria's story, through multiple actors playing Steinem at different ages, who speak and interact with each other. In some scenes, the Glorias ride a Greyhound bus together to depict Steinem's interior landscape through the stages of her life. Julie decided to use several different color motifs, working with red shoes as a wardrobe choice and sometimes black and white to help get her themes across. She took a similar approach in the film Frida, which used vibrant colors and specific materials such as chrome and steel to depict the different locations where Frida Kahlo traveled and worked.

You can watch The Glorias streaming on Amazon Prime September 30.

Find Julie Taymor: http://grandlarge.tv/directors/julie-taymor/

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep93/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Sep 29 2020

1hr 1min

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Ben Kutchins, Emmy-nominated cinematographer of Ozark, on creating the look of the show, working with Jason Bateman, the Veronica Mars movie, Mozart in the Jungle

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Cinematographer Ben Kutchins feels that in filmmaking, you have to be fully committed to believing the story you're telling, and your focus must be unwavering when shooting. There is no other story happening in the world other than the story you're telling. This single-mindedness has served Ben well when shooting the series Ozark for Netflix, which is shot with very controlled light sources and camera movements. Every scene in the show is planned out carefully to reveal more about the story or the character. He and director/producer Jason Bateman wanted it to always look dark and shadowy, and many of the shots in the show are done as “oners,” or one long take. It might take seven to ten takes to get the oner, depending on how intricate it is. Before Ozark, Ben started off exploring still photography as a teen, then landed an internship at Industrial Light and Magic (ILM), which led to a production assistant job at ILM. He had the opportunity to use the lab at Lucasfilm to experiment and process film to understand how it could look. But Ben knew his passion was film, so he enrolled at NYU Film School in order to learn more and work with other young filmmakers such as Rachel Morrison and Reed Morano. He shot about 60 short films in two years, then worked on several indie films before getting hired to shoot the Veronica Mars movie and then the Amazon series, Mozart in the Jungle. Shooting Mozart in the Jungle gave Ben the opportunity to work with and learn from very seasoned directors. He thinks working in television has been an amazing opportunity to collaborate with other DPs and that television has helped him develop a style and hone his craft.

You can find Ozark season three streaming on Netflix.

Find Ben Kutchins: http://www.benkutchins.com/
Instagram: @benkutchins

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep92/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Sep 22 2020

1hr 19mins

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Armando Salas, ASC, on Ozark season 3, his Emmy-nominated episode, shooting the series Mr. Mercedes, From Dusk Til Dawn, Strange Angel

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Armando Salas, ASC was recently nominated for an Emmy for his work on Ozark season three. Ozark is intentionally lit and shot to be very blue and very dark, because all the characters are in the shadows, desperately hiding and scrambling to avoid exposure. Armando began working on Ozark during season two and was already a fan of the show. He worked closely with director and actor Jason Bateman and the other DP on the series, Ben Kutchins. On season three, Armando shot the last four episodes with director Alik Sakharov. (Find our interview with Alik Sakharov here.) This four hour block of the show was a lot like shooting a film, and required him to refer to a detailed shot list, make many notes and continuously refer back to the script. As a kid, Armando grew up in Miami and was drawn to cinematography as a teenager, when he started shooting skateboarding videos. He studied fine arts and did a graduate program for film school, starting off his career as a gaffer before transitioning fully into cinematography. Armando shot several indie features and worked on a few films in China before landing his first episodic show, From Dusk Till Dawn, based on the film by Robert Rodriguez. For the Stephen King series Mr. Mercedes, Armando had the opportunity to create the look of the show, traveling to locations and deciding how to shoot it. The show quickly transitions from from loose and handheld at first, to very smooth and formal framing once the vehicle arrives on the scene. On the CBS show Strange Angel, Armando shot the second season. In this case, the whole look of the show was meant to feel different from the first season, with different cameras, lenses, and lighting.

You can find Ozark season three streaming on Netflix.

Find Armando Salas: https://www.salasfilm.com/
Instagram: @cinesalas

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep91/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Sep 15 2020

1hr 19mins

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Mandy Walker, ASC, ACS on Mulan, Hidden Figures, Australia, Tracks, Shattered Glass, working with directors Niki Caro and Baz Luhrmann

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Mandy Walker believes that her job as a cinematographer is not just to make pretty pictures, but to enhance an emotion with lenses, camera placement and lighting. She works on a gut and emotional level for films, getting across the feelings of the characters- a DP's arsenal of tricks should only help convey what's going on in the scene. For Mulan, Mandy and director Nikki Caro wanted to take a different approach from the Disney animated version, and were free to interpret the film as they wished. Mandy watched several Chinese action films such as House of Flying Daggers and went on location scouting trips to China to find the look and inspiration for the film. Mandy grew up in Australia and always loved photography, film and art, so she felt a passion to become a cinematographer right from the beginning. She skipped film school and began as a production assistant and loader in Australia, learning as she went on films such as Lantana, which was shot using almost only available light. Shattered Glass, which tells the true story of a journalist who made up the majority of his articles, was her first American film. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies, and she learned how to organize and delegate an entire camera department with multiple cameras. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure that how the characters were dressed and what they looked like matched the feel of what each scene is meant to convey. She watched a lot of archival footage from NASA, some of which was used in the film, and was thrilled to meet Katherine Johnson, one of the real-life subjects of the film.

Mandy Walker is currently working with director Baz Luhrmann again on a forthcoming biography film about Elvis Presley.

See Mulan on Disney Plus

Find Mandy Walker: https://www.mandywalkerdp.com/
Instagram: @mandywalkerdp

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep90/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Sep 08 2020

1hr 18mins

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Jas Shelton, Emmy-nominated cinematographer on Homecoming Season 2, working with the Duplass brothers, Keanu with Key and Peele, The Stanford Prison Experiment

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Jas Shelton's career has spanned nearly every genre, from comedy to horror and suspense. Jas grew up in East Texas and attended the University of Texas in Austin. He had difficulty getting into the film program, so he started shooting music videos for bands, then began shooting student films. Austin was a hub for fairly large films at the time, where Jas found work as a gaffer or on second unit, including Miss Congeniality, Varsity Blues, and The Ladykillers. When he and director Kyle Alvarez began planning for the second season of Homecoming on Amazon, they chose to use a different color palette from season one, with darker, moodier looks for the flashback sequences vs. the present day. They were influenced by the look of 70's movies and Brian DePalma films, with slow push-in zooms on the characters, several split-screen sequences and off-center framing. Jas shot all seven episodes of the series, and has received an Emmy nomination for his work. Jas had also worked with Kyle Alvarez on The Stanford Prison Experiment, which was another challenging project since most of it was shot on a white laboratory set, but careful use of close-ups and shadow helped bring more depth to the film. Jas's tight camerawork and careful planning for Homecoming was a much different approach from Jas's previous work with the Duplass brothers on the series Togetherness, The Do-Deca-Pentathalon and Cyrus. Mark and Jay Duplass favor a rough, homemade, documentary style, with lots of improvisation, so scenes often began with close ups on long lenses, with wider shots at the end. For the film Keanu, Jas's experience with more improvisational filmmaking was useful, since Jordan Peele would often rewrite scenes right before shooting.

See Homecoming season 2 on Amazon Prime

Find Jas Shelton: https://www.jasshelton.com/
Instagram: @jasshelton

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep89/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Aug 31 2020

1hr 24mins

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Emmy-nominated director and cinematographer Paul Cameron, ASC: Westworld, 21 Bridges, Man on Fire, Gone in 60 Seconds, Collateral

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Paul Cameron, ASC got his start guerilla-shooting live music with borrowed equipment from film school. Starting off in the budding world of music videos and fast-paced commercials creatively prepared Paul for the action/thriller genre. Paul met cinematographer-turned-director Dominic Sena, who gave him the opportunity to shoot Paul's first feature, Gone in 60 Seconds. They were able to collaborate and communicate with a shared visual language. Later, Paul's work on the film Man on Fire with director Tony Scott allowed him to really hone his look. Though he prefers to use film cameras, Paul had the opportunity to shoot Michael Mann's Collateral with digital cameras, one of the first major films to use the technology. Jonathan Nolan, the director and producer of the HBO series, Westworld, asked Paul to shoot the pilot before there was even a script. They quickly decided to shoot on 35 mm to capture the grand scale of the western landscape. For season three of Westworld, Paul was the director of photography for the first episode, and has earned an Emmy nomination for his work. He also had the opportunity to direct episode four of the series for the very first time and really enjoyed it. Westworld will return for Season 4.

Find Paul Cameron: https://paulcamerondp.com/
Instagram: @paulcameron_dp

See Westworld on HBO: https://www.youtube.com/watch?v=yvGE7Cz9VDA

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep88/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Aug 24 2020

54mins

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Director and DP Brandon Trost: directing An American Pickle, shooting Crank: High Voltage, Halloween II, Can You Ever Forgive Me?, HBO pilot for Barry, comedy films MacGruber, The Interview and The Disaster Artist

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Cinematographer and director Brandon Trost enjoys exploring different genres and styles of filmmaking, trying different things that push him outside of his comfort zone. Brandon grew up around film- he is the fourth generation of his family working in the movie industry. He attended LA Film School and soon began working as a cinematographer. One of Brandon's early films, the action movie Crank: High Voltage, was shot much like a skateboarding video, with several small cameras strategically placed to capture the frenetic pace so that it would feel electric. Brandon loved working with director Rob Zombie on Halloween II, which was shot on 16 mm film for a very grainy and gritty look. Shooting the comedy film MacGruber was Brandon's first experience working in the humor genre. He and director Jorma Taccone wanted it to look like Die Hard, taking all the action movie tropes to an extreme, which is what made it funny rather than choosing to shoot it like a conventional comedy movie. MacGruber helped launch Brandon's career into shooting comedy movies This is the End, The Interview, Popstar: Never Stop Never Stopping, Neighbors and The Disaster Artist with Seth Rogan, Andy Sandberg, and James Franco. When shooting with comedians, Brandon found it's important to be prepared for improvisation and to light the space so there's flexibility for the actors to move within it, keeping shots fairly wide. For the films Diary of a Teenage Girl and Can You Ever Forgive Me? Brandon had the opportunity to switch gears again, working with director Marielle Heller. They chose a camera and lenses for Can You Ever Forgive Me? that gave the film a real, naturalistic, even unflattering look to Melissa McCarthy's character. Brandon got to explore dark comedy again in the pilot for the HBO series, Barry. Creators Bill Hader and Alec Berg wanted the violence to feel very real, dark and yet funny, so Brandon chose to treat the pilot like a Coen brothers movie, using moody lighting and shooting with a single camera. An American Pickle is Brandon's first time directing a large feature film. Frequent collaborators Seth Rogan and Evan Goldberg asked Brandon to take a look at the script with an eye to directing, and the story appealed to him. Directing An American Pickle was challenging since Seth Rogan plays both main characters. Much of the film had to be shot twice- once with Seth Rogan as the character Herschel and then as the character Ben. Brandon found that choosing a director of photography when you're also a cinematographer can be difficult, and he chose DP John Guleserian (Like Crazy, About Time, Love, Simon, the upcoming Candyman) to shoot the movie because he has a great sense of humor and is very collaborative.

Find Brandon Trost: https://www.brandontrost.com/
Twitter: @b_tro

See An American Pickle on HBO Max
Our interview with DP John Guleserian will be coming in October.

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep87/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Aug 18 2020

1hr 24mins

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Director Ron Howard and DP Lincoln Else on the documentary Rebuilding Paradise

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Oscar-winning director Ron Howard talks about directing his first documentary, Rebuilding Paradise, about the devastating Camp fire that completely wiped out the town of Paradise, California on November 8, 2018. The film follows the people in community over time as they deal with the tragedy and begin rebuilding. Directing a documentary was a new experience for Ron, and he felt a personal connection to the town- his mother-in-law had lived in Paradise. Ron Howard and Brian Grazer's production company, Imagine, had wanted to start producing documentaries and they sent out a crew to begin shooting just one week after the fire. Ron picked up some new skills while working on the unscripted project. He had to learn how to let the cameras follow the flow of the conversation, and to be minimalist in covering every possible angle. The experience has led him to make directorial choices in his scripted work that are more verité. Director of photography Lincoln Else worked closely with Ron and the Imagine production team, and developed a unified visual language for Rebuilding Paradise that he communicated with the other shooters. Lincoln learned documentary filmmaking at an early age, loading 16mm mags and assisting his father, documentarian and professor Jon Else. He likes a very simple hand-held style, opting to just put a camera on his shoulder in order to be as reactive as possible. Though footage from many different news sources and people's personal videos was used, the bulk of the interview content in Rebuilding Paradise was “fly on the wall” style.

See Rebuilding Paradise online and support your local theater! https://films.nationalgeographic.com/rebuilding-paradise#screenings

Find Ron Howard: https://imagine-entertainment.com/
Instagram @realronhoward
Twitter: @realronhoward

Find Lincoln Else: http://www.novusselect.com/ https://lincolnelse.com/
Instagram: @lincolnelse

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep86/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Aug 10 2020

1hr 16mins

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Greig Fraser, ASC, ACS on The Mandalorian, Lion, Rogue One: A Star Wars Story and more

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The Cinematography Podcast Episode 85: Greig Fraser

World-renowned director of photography Greig Fraser grew up in Australia, working as a still photographer before he moved into cinematography, shooting shorts, TV shows and films for several Australian directors. Greig's most recently completed project is The Mandalorian, which recently earned him an Emmy nomination. At first, Greig felt incredibly nervous about working on the frontline development for The Mandalorian because of the massive amount of technology involved. His usual approach as a DP has been naturalistic lighting, in a real setting, rather than an entirely manufactured environment on a soundstage. The Mandalorian brought together gaming technology and set design, which could only be done with the support of ILM and Lucasfilm. The Star Wars series used 3D digital environments built with Epic Games' Unreal Engine gaming technology that was capable of interacting with the cameras and was projected on huge LED screens for very realistic backgrounds on the soundstage. Greig was not a Star Wars newbie- prior to The Mandalorian, he was the cinematographer of Rogue One: A Star Wars Story. As a fan of Star Wars, Greig felt some trepidation at first about shooting Rogue One, because he was worried about losing that passion in the day-to-day while on set. Greig met with Rogue One director Gareth Edwards and loved his early film Monsters, so he was convinced to take the job. Grieg also discusses his work on the 2016 film, Lion, for which he received an Oscar nomination for Best Cinematography. Greig was extremely excited to shoot Lion- he and fellow Australian director Garth Davis had worked together a number of times. As a photographer, Greig had traveled and shot in India, and he loved being able to return to India and Melbourne to shoot such a great story. For Lion, Greig and Garth Davis wanted to be very respectful of Indian culture, and be careful of their choices not to oversensationalize images of poverty. Greig shot many of the railway scenes in the film at the level of a small child to capture the character Saroo's feelings of loss and helplessness.

Grieg Fraser is the cinematographer of two hugely anticipated films coming soon: Dune with director Denis Villeneuve and The Batman, directed by Matt Reeves.

Find Greig Fraser: Instagram @greigfraser_dp

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep85/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Aug 03 2020

1hr 31mins

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War Stories Vol. 3: Tales from the Set featuring Laura Merians Gonçalves, Seamus McGarvey, Charles Papert, Charlotte Bruus Christensen, Mike Dallatorre, James Laxton, Jaron Presant, Don Morgan, Roman Vas’yanov, Benoît Delhomme, and Thorsten Thielow

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Special: The Cinematography Podcast- War Stories Vol. 3

In this super-sized War Stories Special, we feature eleven of our guest's harrowing, hilarious or heartwarming stories of an experience they had while on set or when starting out in the film industry. Find full interviews with each of our featured cinematographers in our archives at www.camnoir.com or wherever you get your podcasts.

Cinematographer Laura Merians Gonçalves tells of a scary experience while shooting Pacified in the gritty favelas of Brazil, Seamus McGarvey on his first time using a Super 8 movie camera in film school, Charles Papert talks about working with Eddie Izzard on a grueling TV pilot, Charlotte Bruus Christensen's story of shooting The Hunt with director Thomas Vinterberg almost entirely handheld while pregnant, Mike Dallatorre on dealing with the Mexican federales while working on Quantum of Solace, James Laxton's early experience as a loader for an Errol Morris-directed commercial, Jaron Presant tells a funny story about making a huge error as a set PA, Don Morgan on getting hired because of a mistaken film credit, Roman Vas'yanov tells about his entirely too-real experience while shooting in the hood for End of Watch, Benoît Delhomme talks about crew issues while shooting The Proposition in the Australian outback, and documentary filmmaker Thorsten Thielow's experience of shooting during an actual war.

Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram!

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories3/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Jul 27 2020

29mins

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Alex Winter on his HBO documentary Showbiz Kids, experience as a child actor, moving from acting to directing, The Lost Boys, The Idiot Box, Freaked, Bill & Ted Face the Music, Zappa, and more

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The Cinematography Podcast Episode 84: Alex Winter

Many people know Alex Winter as the iconic character Bill S. Preston, Esq. from the hit Bill & Ted's Excellent Adventure and its sequels, but over the past few decades, Alex has become a prolific director of several TV, film and documentary projects. Alex was a child actor, with roles on Broadway, film and television, shooting his own projects on a wind-up 16 mm Bolex camera in his spare time. As a young actor, he followed cinematographer Michael Chapman (Jaws, Raging Bull, Taxi Driver) around on the set of The Lost Boys whenever he had downtime. After graduating from NYU film school, Alex and creative partners Tom Stern and Tim Burns created The Idiot Box, a sketch comedy show for MTV. They had creative control but not much money, so Alex, Stern and Burns moved on, making their own comedic film, Freaked, which has become a cult favorite. Alex went on to shoot and direct several music videos for bands like The Red Hot Chili Peppers and Helmet. For his most recent documentary film, Showbiz Kids, Alex found his personal experience and sensitivity as a fellow child actor immensely helpful for interviewing his subjects. The film profiles actors Evan Rachel Wood, Wil Wheaton, Henry Thomas, Mara Wilson, Todd Bridges, Milla Jovovich, Jada Pinkett Smith, the late Cameron Boyce and Diana Serra Cary (“Baby Peggy”) who tell their own stories and Hollywood experiences, bad and good, of growing up as child actors. The doc also follows two aspiring child stars as they try to break into the business or further their careers. For his upcoming documentary Zappa, Alex wanted to tell the definitive story of Frank Zappa's life and work. With the cooperation of the Zappa family, he had unprecedented access to Frank Zappa's home movies and recordings. Alex will also be seen acting once again as Bill with buddy Keanu Reeves in Bill & Ted Face The Music, as soon as a release date is set.

Find Alex Winter: http://alexwinter.com/
Instagram: @alxwinter
Twitter: @Winter
See Showbiz Kids on HBO: https://www.hbo.com/documentaries/showbiz-kids
Zappa, coming soon: http://www.zappamovie.com/about

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep84/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Jul 20 2020

1hr 25mins

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Jody Lee Lipes on shooting the HBO series I Know This Much Is True, A Beautiful Day In The Neighborhood, Girls, Tiny Furniture, Martha Marcy May Marlene and more

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The Cinematography Podcast Episode 83: Jody Lee Lipes

Cinematographer Jody Lee Lipes has always enjoyed working on diverse projects with intimate stories. Shortly after film school, Jody collaborated with actor/director Lena Dunham on her first film, "Tiny Furniture," which led to Jody's shooting the HBO series, "Girls." He also shot the acclaimed indie thriller, "Martha Marcy May Marlene," directed by Sean Durkin, about a woman who escapes a cult and grows increasingly paranoid. Larger projects soon followed, including Academy Award nominated films, "Manchester by the Sea" and "A Beautiful Day in the Neighborhood" with director Marielle Heller. When Heller asked Jody to be the director of photography for her film about a journalist writing a profile piece on Mr. Rogers, he was extremely moved by the script and it gave him a renewed passion for his craft. Jody's most recent project, the HBO series, "I Know This Much is True," is the story of Dominick, who is struggling with caring for his mentally ill twin brother, Thomas. Mark Ruffalo plays both twins, one of whom is much heavier than the other. Jody had to first shoot the “A” side of Dominick, then the B side of his brother Thomas several weeks later after Mark Ruffalo had gained weight. Director Derek Cianfrance decided he did not want to rely very much on special effects, and they discovered that often, a single two-shot of the “twins” would sell the idea that there were two people in the room. Shooting "I Know This Much is True" proved challenging in other ways as well. It was shot on film, with extreme closeups on long lenses, and controlling the light was key so that it would match each shot.

Find Jody Lee Lipes: https://www.jodyleelipes.com/
Instagram: @jody_lee_lipes

See I Know This Much is True currently on HBO:https://www.hbo.com/i-know-this-much-is-true

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep83/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Jul 12 2020

1hr 8mins

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John Brawley, DP of the Hulu series The Great, talks creating his visual manifesto for the satiric show and more

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The Cinematography Podcast Episode 82: John Brawley

John Brawley began his career shooting television series in his native Australia, coming to the U.S. to shoot the USA series, Queen of the South. John approaches each project with a “visual manifesto,” or a set of rules for yourself and the crew to follow with the camera, lenses, lighting, and color story defining what you're doing. John's recent project, The Great, stars Elle Fanning as Catherine The Great and Nicholas Hoult as Peter, the (not great) king of Russia. John worked closely with series creator Tony McNamara, a fellow Aussie who also received an Oscar nod for writing The Favourite. While shooting, John, Tony and the production designer determined that all the light sources be consistently candlelight, daylight, or firelight. Since it was Catherine's story, she was always in the center of the frame and her close-ups were always just a little closer. The UK is the home of period drama, but Tony McNamara wanted The Great to be “punk history” or satire, taking liberties with the Catherine The Great story, both in costuming and language. He and John also resisted the urge to do period cliché visuals- for example, they did not use any “sweeping” crane shots and avoided using excess smoke for atmosphere. The Great was just renewed for a second season.

Find John Brawley: http://johnbrawley.com/
See some tech tests from John's projects: https://johnbrawley.wordpress.com/
Instagram: @johnbrawley

See The Great on Hulu: https://www.hulu.com/welcome

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep82/

Sponsored by Hot Rod Cameras www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Jul 08 2020

1hr 13mins

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Serengeti director/producer John Downer and DP Richard Jones on the Discovery Channel series, the challenges and new technologies for shooting wildlife documentaries

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The Cinematography Podcast Episode 81: John Downer and Richard Jones

Director John Downer and cinematographer Richard Jones have always had a love of animals. John went to work for the BBC after film school and quickly moved into the BBC Natural History division. Richard grew up in Kenya and started out in the film industry, then went to work with a wildlife filmmaker in Botswana, soon picking up a camera and teaching himself. They both agree that to be a good wildlife documentarian, it's important to spend a great deal of time around the animals, in order to understand and anticipate what they are going to do and capture it on camera. For the Discovery Channel/BBC series Serengeti, John and Richard felt for the first time that all the camera technology was finally advanced enough to capture the true nature of the animal's lives. They were able to use small, high quality hidden remote cameras that are durable and “lion proof,” as well as a special array of cameras with long lenses on a stabilization system attached to their vehicles, so Richard could shoot while the jeep was driving. While wild animals are definitely not directable, John and Richard knew what wildlife they wanted to follow as characters with the script following the changing seasons as an overarching story plotline. Serengeti follows the interconnected stories of a cast of savannah animals over one year, capturing the drama of the wildlife up close. It was important for John and producer Simon Fuller to show that animals are a lot like us and we are all in this world together.

See Serengeti on Discovery GO: https://go.discovery.com/tv-shows/serengeti/
Find John Downer: http://jdp.co.uk/
Find Richard Jones: http://rmjfilming.com/

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep81/

Sponsored by Hot Rod Cameras www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Jul 02 2020

1hr

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Xavier Grobet, ASC on HBO’s Watchmen, going to film school with Mexican filmmakers Rodrigo Prieto and Alfonso Cuarón, early experience on films Total Recall, Revenge, Before Night Falls

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The Cinematography Podcast Episode 80: Xavier Grobet

Mexican-born DP Xavier Grobet grew up surrounded by visual images. His mother was a professional photographer, and from an early age, Xavier made his own Super 8 movies every summer with his cousins and family members. He started out going to architecture school, but soon decided his passion was film. Xavier's generation of fellow Mexican filmmakers, “Chivo” Emmanuel Lubezki, Rodrigo Prieto, and Alfonso Cuarón were also attending film school at one of the two main colleges in Mexico City. One of Xavier's early experiences was operating the third camera on a French film, Les Pyramides Bleues, with Alfonso Cuarón as the assistant director. Many American productions were shooting in Mexico at the time, so Xavier was able to work on huge movies like Tony Scott's Revenge and Total Recall starring Arnold Schwarzenegger. Once he moved to America, it took awhile to get established again, but he got a big break shooting the Julian Schnabel film Before Night Falls and the series Deadwood. Xavier Grobet's most recent work has been on HBO's phenomenal series Watchmen, on episodes three, five, and seven. Going into the world of Watchmen proved to be a huge challenge, because each episode works as its own separate piece, but required a familiarity with the script for the entire series to ensure the consistency and look of the story. He always found ways to shoot from different angles, and used blue lighting selectively to suggest and reveal Dr. Manhattan. It was daunting working within the framework of the show's look and following its guidelines, but Xavier embraced it and made it his.

See Watchmen on HBO: https://www.hbo.com/watchmen

Find Xavier Grobet: http://xmexdp.com/ Instagram: @xmexdp

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep80/

Sponsored by Hot Rod Cameras www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Jun 25 2020

1hr 11mins

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iTunes Ratings

70 Ratings
Average Ratings
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Great Pod!

By wgmeese - Aug 22 2019
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Illya Friedman rocks and so does this podcast, keep ‘em coming!

Entertaining and informative

By Ray Rushing - Jan 26 2015
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Every show delivers such great content. Must listen for anyone starting out as a DP.