The Cinematography Podcast

The Cinematography Podcast
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The Cinematography Podcast

The Cinematography Podcast is the program about the art, craft and philosophy of the moving image and the people who make it happen. Your job title doesn't have to be cinematographer to be featured on the show. We interview a wide variety of filmmakers including, actors, directors, producers, production designers, editors, storyboard artists and those in related filmmaking careers. This is not a film school, more like a professionally produced radio program found on NPR, each episode brings an interesting perspective to an often overlooked and widely misunderstood craft. Recorded in Hollywood, California at the world headquarters of Hot Rod Cameras. Hosted by Ben Rock and Illya Friedman.

  1. 1 DAY AGO

    Jules O’Loughlin: Balancing action and character in The Old Man Season 2

    The Cinematography Podcast Episode 287: Jules O'Loughlin In The Old Man Season 2, former CIA operative Dan Chase (Jeff Bridges) is forced to confront his past when his nemesis, Afghan warlord Faraz Hamzad kidnaps his daughter, Emily (Alia Shawkat). Chase and his former FBI handler, Harold Harper (John Lithgow), must navigate a dangerous world of international espionage and deadly consequences to rescue Emily. The season explores themes of identity, loyalty, and the sacrifices made for family. A key factor in bringing The Old Man Season 2 to life is the stunning cinematography of Jules O'Loughlin, ASC, ACS. He skillfully balances the show's dramatic tone with visually striking imagery. Jules is drawn to projects that prioritize character-driven storytelling, and loved witnessing the performances of Jeff Bridges and John Lithgow, two iconic actors who bring depth and nuance to their roles. “Jeff Bridges is so lovable, and an awesome guy,” says Jules. “I got into this to be able to photograph a great actor doing their thing, and watching two great actors going toe to toe.” Despite the show's intense action sequences, Jules believes in the importance of grounding the story in reality. The production team meticulously researched historical details and cultural nuances to create an authentic world. “It's got to feel real, it's got to feel grounded when you walk in,” he says. “If you are true to the world that you're building, then you can pretty much do anything.” His main guiding principle as a cinematographer is that overshooting is the enemy of style. A good cinematographer, and a good director, should be confident in their style and avoid “smotherage”- shooting a ton of different angles that probably won't be used and aren't needed. Jules also was a cinematographer for Season 1, which began production in 2019. By 2020, due to the pandemic, the production stayed in the U.S. and shot in Santa Clarita, just north of Los Angeles, for the hills of Afghanistan. During Season 2, the production continued to use the Santa Clarita location. Color grading, using tobacco filters and finding the right LUT were important tools to make it look like Afghanistan. For a more authentic mountain backdrop, they used plate photography shot in the Sierra Nevadas to composite into the background. Though the series is full of action, Jules did not want to sacrifice the storytelling with fast cuts and camera movements, since there is so much great acting on screen. He usually avoids excessive camera movements and flashy techniques, opting instead for a more restrained approach that allows the performances to shine. “Every time you cut away from the character, you're losing the chance to connect with them,” he says. Action sequences, especially in episode 3, were meticulously planned, storyboarded and rehearsed. Each episode usually had two cameras, but the production used as many as five for a firefight sequence in an Afghan village. Find Jules O'Loughlin: Instagram: @jules.oloughlin The Old Man Season 2 is streaming on Hulu Hear our previous episode with Jules O'Loughlin. Close Focus: Since it began in 2008, Fantastic Fest would host physical boxing match fights, often pitting film critics against filmmakers. a href="https://www.indiewire.com/features/interviews/fantastic-fest-debates-alamo-drafthouse-boxing-history...

    1h 15m

  2. 30 OCT

    The creepy cinematography of Smile 2: DP Charlie Sarroff

    The Cinematography Podcast Episode 286: Charlie Sarroff In the horror film Smile 2, pop star Skye Riley, preparing for a world tour, encounters a troubled friend who passes on the sinister "Smile" curse. As Skye's life spirals into chaos and her sanity deteriorates, she must confront the terrifying entity and its deadly grip before it consumes her and everyone around her. Cinematographer Charlie Sarroff and director Parker Finn wanted to be sure that the sequel to Smile was more than just a rehash of the same basic idea. They wanted to push and elevate the basic storyline into something bigger, while keeping what worked in the first film intact. Smile 2 definitely has a much bigger scale, with stage lighting and live performance sequences for pop star Skye Riley (Naomi Scott). Early on, Charlie knew he would have to film and light stage performances. He worked closely with lighting designer Brian Spett to get the stage lighting just right. Together, Charlie, Finn, and production designer Lester Cohen created a color palette consisting of reds with silver and blue elements. “Being a cinematographer is about surrounding yourself with great people and then asking them for help,” says Charlie. Charlie wanted some scenes to “bloom” more, almost so that they looked overexposed. Some parts of Smile 2 were shot on Kodak film to create this effect, and then the film went through a skip bleach process to add to the bloom effect. Then the film was outputted to digital for mastering and further color correction to really make the reds pop. Charlie feels that the process adds a lot to the look. “It smooths out the film, and adds twinkle to the lights. It just infuses into the image a little bit more. I think it can help effects and makeup, too, without being super grainy.” Smile 2 used many of the same camera movements and lenses as Smile, including plenty of zooms to add to the discomfort. Charlie used a very specific lens for people with the smiling curse. “I shot each smile on a very wide lens, a 28mm- when you're that close up on that lens, it makes people feel extremely uncomfortable. We never used long lenses,” he adds. “I used a lot of zooms, for specific moments when heavy things are going down to hone in on something. Zooms provoke a different emotion, especially at the end (of the film.) Zooming in shows that Skye is getting closer to the curse.” Smile 2 is in theaters now. Find Charlie Sarroff: Instagram: @charliesarroff Hear our previous interview with Charlie Sarroff on Smile. Close Focus: California governor Gavin Newsom announced he will increase the state's film tax incentives. Meanwhile, in August, Los Angeles mayor Karen Bass created an Entertainment Industry Council in an effort to streamline and facilitate the film permitting process in the city. Ben's short end: ShotKraft is an AI assistant that will help you make a shotlist for your film. Upload a PDF of your script, and the AI in ShotKraft provides a basic pitch for how to cover your scene. Illya's short end: The Laowa 24mm T8 2X Pro2be probe lenses are great for tabletop work and stop motion.

    1h 17m

  3. 23 OCT

    Capturing the essence of The Substance: Benjamin Kracun, BSC

    The Cinematography Podcast Episode 285: Benjamin Kračun In The Substance, Elisabeth Sparkle (Demi Moore) is an aging celebrity fitness instructor who's fired once she turns 50. She injects herself with a black market drug that creates Sue (Margaret Qualley), a younger, more perfect version of herself. While initially tempted by the promise of renewed youth and fame, she soon realizes that the drug comes with a set of unexpected and dangerous side effects. The body horror film explores unrealistic beauty standards and the dangers of worshiping fame and youth. Though he wasn't a horror fanatic, cinematographer Benjamin Kračun grew up with David Cronenberg and John Carpenter movies. Ben admired visionary director Coralie Fargeat's work on Revenge. Likewise, she was impressed with his work on Promising Young Woman. Ben read through the script of The Substance, then immediately read it again. “I felt emotional reading it,” says Ben. “I don't usually feel that when reading these types of genre scripts. Even though it speaks more to women aging, I think everybody can relate to the fact that we're all aging, everyone has issues. The minute I read it I was just so in tune with Elisabeth." Together, Ben and Fargeat have crafted a film that's equal parts grotesque and darkly satirical, a twisted reflection of our obsession with youth and beauty. The Substance begins in a glamorized Hollywood world that feels romantic and timeless but quickly descends into a nightmare. Ben and Fargeat chose to go old school, using a Translight backdrop on the apartment soundstage for the view overlooking Los Angeles. To differentiate Elisabeth's world from Sue's, Ben used a special pink swirl lens to emphasize color and vibrance on Sue. In contrast, he chose to light Elisabeth with hard light and cooler, bluer colors. Ben found that spherical lenses worked best for the numerous closeups in the film and against the Translight backdrop. As Elisabeth's world crumbles, so do the camera angles, and Ben tested them all during prep. Initially, the frames are meticulously centered, reflecting the order she desperately clings to. But as chaos ensues, the angles become more extreme, mirroring her unraveling sanity. The set for Elisabeth's bathroom was huge and completely white, and a good deal of the action takes place in that room. It was challenging to shoot in that space, but it became a white canvas for Ben's masterful use of camera movement. Fargeat meticulously storyboarded every gruesome transformation, ensuring seamless transitions between practical effects and subtle digital tweaks. All the special effects in the movie were done practically, with special builds, makeup, prosthetics, and movie blood. Digital VFX was used only to help stitch together or smooth out some of the makeup and prosthetic effects. Rather than use a second unit, Ben shot every single frame alongside Fargeat, who wanted to give the film her full attention. This included many top down perspective shots throughout the film, along with several inserts and close ups. Once the cast was wrapped, Ben and the crew moved on to the close-up shots and inserts of the lab on a soundstage where “the substance” is created. In the end, it was the longest shoot he'd ever done at over 100 days. When The Substance premiered at Cannes, Ben was amazed at the audience's reaction. “No one had seen it. We didn't know what the reaction was going to be,” he says. “It was amazing to see it come together in the cinema. That film stands out,

    1h 20m

  4. 16 OCT

    House of Spoils haunting beauty: DP Eric Lin

    The Cinematography Podcast Episode 284: Eric Lin The spooky thriller House of Spoils on Amazon Prime is about an ambitious chef, Ana (Ariana DeBose) who follows her dream to open a restaurant on a remote estate in the woods. She quickly realizes it's haunted by the vengeful spirit of the previous owner. As Ana battles stress, self-doubt, a skeptical investor, and kitchen chaos, the ghost's sinister presence threatens to sabotage her every step. When cinematographer Eric Lin met with directors Bridget Savage Cole and Danielle Krudy (Blow The Man Down), they presented him with several inspirational references by surrealist painter Leonor Fini and Dutch painter Adriaen van Utrecht. Both artists captured the unsettling feeling of eerie decay while being surrounded by the natural world. Nature, rot and its influence on bodies became the movie's core aesthetic. Films like Black Swan (psychological horror), The Shining (single, oppressive location) and Phantom Thread (artistic obsession) also served as inspiration. Eric embraced the use of zoom lenses in the film. “Zooms are super psychological and we tried to find ways that we would sneak them in, because it has this very unsettling feel,” he says. Because Ana is a chef, food also played a major role in the film. “I was interested in trying to find a way to represent the colors that had a feeling of decay- almost a mushroom, moldy look,” Eric explains. “Because what comes from that decay is life, right? It's like creativity is born through all this death and decay. And so I wanted the colors of the film to represent that feeling.” He created a LUT where the vibrant colors stood out while the browns and greens stayed dull and earthy. The kitchen was really being used to cook the dishes, and a food stylist helped to plate all the ingredients. Second unit would then shoot the dishes as they were presented to the table. House of Spoils was shot on location at an estate in Budapest. The crew built a fully functional kitchen set, allowing for meticulously planned lighting. The garden outside the kitchen was also created by the production design team and the greens department. The natural fog blanketing the estate's garden provided the perfect eerie atmosphere, eliminating the need for fog machines. Eric's passion for cinematography wasn't always his career path. After studying at UC Berkeley, he switched gears to study film in grad school at NYU. He managed to land a job as an assistant editor, but cinematography was his true passion. Eric shot music videos and independent films as much as he could on the side. While shooting music videos and independent films, his dedication paid off. The short film Missing went to the Cannes Film Festival. Eric's cinematography is also in several Sundance Film Festival projects, such as The Sound of Silence, Hearts Beat Loud, and I'll Be Your Mirror (originally titled Blood). House of Spoils is currently streaming on Amazon Prime Video. Finda href="https://eric-lin.

    1h 12m

  5. 9 OCT

    Lensing Longlegs: DP Andrés Arochi

    The Cinematography Podcast Episode 283: Andrés Arochi The new movie Longlegs is a psychological horror film that follows FBI Agent Lee Harker as she investigates a series of mysterious murder-suicides. The victims, all families, leave behind cryptic messages signed "Longlegs." As Harker delves deeper into the case, she uncovers a dark connection to the occult and must confront a terrifying supernatural entity. For cinematographer Andrés Arochi, technical mastery is key, but it's always in service to the story. “It has to come from something inside you that says, 'I want to create this' and then you find a technical way to do it,” he says. “For me it's always trying to be true to that instinct and to whatever feels right, and when you do it, then you're talking about yourself so it's easy to see yourself reflected.” Longlegs is Andrés' first international feature. For the past 12 years, Andrés has been working as a DP in Mexico. With no formal training, he began taking photos of friends in the music scene at age 17. Soon, he began creating projection video displays for concerts and shooting music videos and commercials. This led to work on huge music video and film sets as an on-set photographer, where he met Mexican cinematographers Guillermo Garza (the cinematographer of The Thicket), Alexis Zabé and Galo Olivares. Standing next to these skilled DPs with his camera in hand allowed Andrés to learn alongside them, and he would watch and ask questions, often copying their settings on his camera to experiment. In his spare time, Andrés would go out and practice the new techniques he learned, shooting low-budget films and music videos for friends. Fellow Mexican cinematographer Galo Olivares shot director Osgood Perkins' Gretel and Hansel, and he introduced Andrés to Perkins when the director was looking for a DP for Longlegs. Andrés was drawn to the humor in the Longlegs script, and loved that some comedy existed, even within a horror film. Unlike a lot of cinematographers and directors, Andrés and Perkins didn't create a lookbook or speak in depth about filmic references, such as The Silence of the Lambs and Se7en, which were influences for Longlegs. Instead, Andrés says, “When we did talk about movies, it was more movies that had nothing to do with the genre. We talked a lot about My Own Private Idaho, Drugstore Cowboy—a lot of Gus Van Sant 1990s indie America filmmaking. Elephant was an influence on the way we used Steadicam.” One artistic reference Andrés used was The Son of Man by artist René Magritte, a painting showing a man with his face hidden by an apple. Andrés loved the idea of keeping the face of Longlegs the killer hidden at first. Andrés chose to shoot on 35mm film and in a 4:3 aspect ratio for parts of Longlegs that take place in the 1970's. “Using film changes the emotion. Everyone stays focused and shooting on film makes it necessary for everyone to rehearse. So, I decided to shoot 35mm for everything in the 1970s and go with a 4:3 aspect ratio, then we did 2.39 and shot on digital with the Alexa Mini LF for the 1990s.” During the Longlegs shoot, director Osgood Perkins wanted the film crew to use their creativity. “Oz was always encouraging the whole team, like do what you feel,

    1h 10m

  6. 2 OCT

    Creating the underworld of Beetlejuice Beetlejuice: DP Haris Zambarloukos

    The Cinematography Podcast Episode 282: Haris Zambarloukos Beetlejuice Beetlejuice cinematographer Haris Zambarloukos loved the original 1988 Beetlejuice as a young adult. With Beetlejuice cinematographer Thomas Ackerman as his inspiration, Haris wanted to pay homage to the first movie while pushing the boundaries of cinematic storytelling. “It was fun to make,” says Haris. “We really did enjoy ourselves, and it was a huge collaborative effort. It was a real delight and a pleasure to bring this to screen.” Haris chose to shoot Beetlejuice Beetlejuice on the Sony Venice 2. He likes the camera's ability to deliver a high-fidelity image with low-light sensitivity, which was perfectly suited for the film's atmospheric and often dimly lit settings. He worked closely with director Tim Burton to develop a meticulous lighting plan that would create an immersive and atmospheric environment for the actors. The spaces were designed to be functional in-camera, allowing for a more organic and spontaneous approach to lighting. The film's unique blend of live-action and animatronics was a high-stakes balancing act requiring exceptional coordination between the camera crew, lighting team, actors, and puppeteers. “On top of that, you've got Michael's incredible performance as Beetlejuice, which is full of energy,” says Haris. “And at that pace and that energy level, you only have so many takes. Then there's a camera move and 20 or 30 lighting cues just in a single 15 second take and that all has to work. So, in essence, we're all performing, and we don't want to let anyone down because the person that makes a mistake is the one that ruins it for everyone. I've never been on a film where we all worked in unison that way. But that's probably because I've only made one Tim Burton film, and there's no one else that works quite like him.” To create a distinctive visual language for the underworld, Haris used a palette of green and blue tones. Working with Burton, they pre-programmed RGB spectrum LED lighting for precise color control and creation of unique lighting patterns. The team was able to test and pre-light for a "repertoire" of looks that could be easily accessed and modified during filming. Haris used ARRI SkyPanel lights to control the time of day, creating a very theatrical, impressionistic effect of a lit sky outside the windows of the sets. Find Haris Zambarloukos: Instagram: @zambigram Hear our previous interview with Harris Zambarloukos Close Focus: DirectTV is acquiring Dish Network and SlingTV, which would make them the largest television provider in the world. Illya's short end: Frank Darabont is coming out of retirement to direct two episodes of Stranger Things season 5. Ben's short end: Ben enjoyed seeing the horror film Azreal starring Samara Weaving, directed by EL Katz. Sponsored by Hot Rod Cameras Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you're interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative.

    59 min

  7. 25 SEPT

    The Thicket director Elliott Lester on his Western epic

    The Cinematography Podcast Episode 281: Elliott Lester The Thicket is a gritty Western thriller that follows a young man's quest to rescue his kidnapped sister from the clutches of the notorious Cut Throat Bill (Juliette Lewis). With a ragtag group of outcasts and the aid of the skilled bounty hunter Reginald Jones (Peter Dinklage), he embarks on a perilous journey through the unforgiving Texas wilderness. Inspired by classic Westerns like The Searchers, The Revenant, and McCabe & Mrs. Miller, director Elliott Lester sought to create a visually striking and emotionally resonant film. “I look more at photography and art to inform the feeling, because the moment you shoot that very first frame, you're dictating how that movie's going to be,” says Elliott. “Where you put the camera, it informs how the performance is going to feel. There was always something intriguing to look at in each frame of the movie.” The Thicket was backed by the streaming service Tubi and filmed in Alberta, Canada, during the harsh winter months. The cast and crew faced extreme conditions, including temperatures well below freezing. Despite the challenges, Elliott and his team managed to capture the rugged beauty of the wilderness and create a sense of authenticity. Cinematographer Guillermo Garza played a crucial role in bringing Elliott's vision to life. Their collaboration was marked by a deep understanding of naturalism and a commitment to creating visually stunning shots. "One of the reasons I collaborated with him was because he had an amazing understanding of naturalism," Elliott says. "He's a pretty remarkable DP." With no formal film school training, Elliott worked his way up through the ranks of music video production back in its heyday. His experience as a first assistant director on films like American History X provided him with valuable experience and the desire to become a director. "I was obsessive about directing," he admits. "Once I got my teeth into something, I was like a dog with a bone." Find Elliott Lester: Instagram: @elliottlester88 Close Focus: Lionsgate has made a deal with the AI company Runway to train it on Lionsgate's library, which seems like a bad choice after the SAG and WGA strikes. California governor Gavin Newsom also just signed a law to protect actors from unauthorized digital use of their likeness. Ben's short end: The Substance, shot by Benjamin Kraçun, a previous guest of Cinepod. Illya's short end: Thelma, starring June Squibb, is a must-watch. Sponsored by Hot Rod Cameras Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you're interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation. LIKE AND FOLLOW US, send fan mail or suggestions! Rate,

    1h 17m

  8. 18 SEPT

    Shotcraft: A Masterclass in Cinematography with Jay Holben

    The Cinematography Podcast Episode 280: Jay Holben Shotcraft: Lessons, Tips & Techniques on the Art and Science of Cinematography is a new book by veteran cinematographer, producer and director Jay Holben. Shotcraft offers a comprehensive guide to the art and science of filmmaking. Based on his popular column in American Cinematographer, the book offers insightful essays and practical tips that cover a wide range of topics, from technical fundamentals to creative storytelling. Jay emphasizes the importance of understanding the technical aspects of cinematography while also nurturing one's artistic vision. He encourages readers to experiment with different techniques, test, try and learn about the latest technology, and build a strong network within the industry. Key takeaways: * Master the fundamentals: A solid grasp of technical knowledge, including lighting, exposure, and camera movement, is essential for successful cinematography. * Develop your artistic eye: Cinematography is as much about creativity as it is about technical skill. Experiment with different styles and techniques to find your unique voice. * Build a strong network: Networking with other filmmakers can provide valuable opportunities, mentorship, and support. * Create a compelling reel: A well-crafted reel is a powerful tool for showcasing your skills and attracting potential clients, especially before you have agency representation. You can buy Shotcraft: Lessons, Tips & Techniques on the Art and Science of Cinematography on Jay's website or at the ASC Store. Jay has a companion book to Shotcraft coming out next month. It covers tips and stories from the top cinematographers in the world such as Roger Deakins, Harris Savites, Janusz Kamiński, and Greig Frazier. Jay Holben's other books include A Shot in the Dark: A Creative DIY Guide to Digital Video Lighting on (Almost) No Budget, Behind the Lens: Dispatches from the Cinematographic Trenches, and The Cine Lens Manual: The Definitive Guide to Cinema Lenses Find Jay Holben: Instagram: @jayholben **WIN A COPY OF SHOTCRAFT! Like, Follow and Comment on our post for this week's episode on Instagram, Facebook or Threads and we will pick a winner** *Winner must be within the continental U.S.!* Close Focus: The 2024 Emmy Awards main event. The big winners of the Emmys were: Shogun-18 Emmys The Bear-11 Emmys Baby Reindeer- 6 Emmys a href="https://www.

    1h 10m
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About

The Cinematography Podcast is the program about the art, craft and philosophy of the moving image and the people who make it happen. Your job title doesn't have to be cinematographer to be featured on the show. We interview a wide variety of filmmakers including, actors, directors, producers, production designers, editors, storyboard artists and those in related filmmaking careers. This is not a film school, more like a professionally produced radio program found on NPR, each episode brings an interesting perspective to an often overlooked and widely misunderstood craft. Recorded in Hollywood, California at the world headquarters of Hot Rod Cameras. Hosted by Ben Rock and Illya Friedman.

Information

  • Creator
    The Cinematography Podcast
  • Years Active
    2014 - 2024
  • Episodes
    299
  • Rating
    Explicit
  • Copyright
    © 2024
  • Show Website
    The Cinematography Podcast

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