How would you like to explore The Cinematography Podcast?
Episodic production, showrunners, visual continuity, streaming series, and sustaining a photographic language across a season.
Furious DP Doug Emmett breaks down how the production team aligned on tone, lighting a penthouse with floor-to-ceiling windows, and creating a red-lit party scene. Podcast highlights include: -How the Furious team rehearsed their look-book pitches over Zoom before presenting to the studio. Every pitch got shorter and sharper,…
Remembering cinematographer Rodney Charters, ASC, dp of 24, Sleepwalkers, and much more in this classic Cinepod conversation on craft, career, and lighting.
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…
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…
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…
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…
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…
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…
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…
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.…
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