Podcast
The Cinematography Podcast
Hosted by The Cinematography Podcast · EN
Art, Business, Craft and Philosophy of the Moving Image
30episodes
Episodes
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Lawrence Sher ASC: filming Apex in the Australian wilderness
5d ago01:11:12Tap to summarizeLawrence Sher, ASC, is the cinematographer of Apex, the action thriller currently sitting at number one on Netflix. Apex stars Charlize Theron as a woman hunted through the Australian wilderness by a relentless pursuer, and it's one of the most visceral and visually grounded survival thrillers in recent memory. The entire film was shot on location in the Blue Mountains of Australia. Key Podcast Highlights: -How the extreme remoteness of the locations forced a documentary-inspired toolkit, including the Sony Venice bodies packed into backpacks, lightweight lenses, very few lights and a skilled drone pilot. -Building a visual philosophy around what you can't control. Lawrence embraced shifting sunlight, unpredictable weather, and inaccessible terrain as creative assets rather than obstacles. -Using a "documentary grammar" framework to justify camera angles and movement, drawing on the visual language of climbing films like Free Solo and The Alpinist. -How streaming has changed a cinematographer's relationship to their work. Lawrence sees Netflix's democratizing reach as a genuine second chance for films that deserve a wider audience. Find Lawrence Sher: Instagram @lawrencesherdp See APEX on Netflix Check out Shotdeck: https://shotdeck.com/ Hear our previous episodes with Lawrence Sher: https://www.camnoir.com/ep350/ https://www.camnoir.com/ep293/ https://www.camnoir.com/ep56/ SHOW RUNDOWN: 02:32 Close Focus 13:01-56:48 Lawrence Sher interview 57:13 Short ends 01:07:44 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →Tari Segal, ASC: visual magic in Margo’s Got Money Troubles
2w ago01:11:12Tap to summarizeMargo's Got Money Troubles DP Tari Segal, ASC approached the show with spontaneity, intimacy, and a creative way to bring static backdrops to life. Margo's Got Money Troubles follows a young woman navigating an unexpected pregnancy, a complicated family, and some very creative ways to pay the bills. It’s one of the most visually inventive comedies currently streaming. Tari shot four of the show's episodes. Key Podcast Highlights: -How Tari and the team built a shooting style rooted in spontaneity that allowed the actors freedom of movement on set. -Using actual licensed music piped into the crew's headset and actors earpiece so the camera could keep tempo with the final cut. -Developing the visual language of the show, sometimes shifting from handheld, Steadicam, and studio modes {X} in the same scene. -Shooting the entire Vegas episode in just three days, and the practical tricks Tari used to make four-walled L.A. sets read convincingly as Las Vegas. Find Tari Segal: https://www.tarisegal.com/ Instagram @tarissegal SHOW RUNDOWN: 02:22 Close Focus 11:34-01:00:43 Tari Segal interview 01:01:17 Short ends 01:09:22 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →DP Greta Zozula on the look of The Testaments
3w ago01:11:12Tap to summarizeDP Greta Zozula remakes the world of Gilead in The Testaments, a sequel to The Handmaid's Tale. She chose a very specific color palette and brighter look to show the optimism for the young women at the school for future wives. Flashbacks to the world of Toronto are sharper, grittier and more realistic. Key Podcast Highlights: -How Greta kept the same camera and lenses consistent from The Handmaid’s Tale into The Testaments, while brightening and widening the look for the optimistic young women of Gilead. -Establishing the aesthetic of The Testaments with a color palette of plums, pinks and greens rather than higher contrast reds and blacks. Greta also used different lenses and framing to separate Agnes’s world and Daisy’s world in Toronto. -Using miniatures and a probe lens for the opening sequence of the show as the camera takes us through Agnes’s dollhouse. Find Greta Zozula: https://www.gretazozula.com/ Instagram: @gzoz Show Rundown: 02:17 Close Focus 09:22-48:35 Greta Zozula interview 50:05 Short ends 53:53 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →The scrappy, indie production of Hunting Matthew Nichols
4w ago01:11:12Tap to summarizeHunting Matthew Nichols is an indie horror film that’s shot as a mockumentary/found-footage movie about a documentary filmmaker investigating her brother's disappearance 20 years earlier on Vancouver Island. Writer/producer Sean Harris Oliver and DP Justin Sebastian shot the horror film in 12 days, then independently released it into theaters. Key Podcast Highlights: -How cinematographer Justin Sebastian used Sony FX9 cameras on autofocus, shot archival footage scenes on period-correct cameras, and then physically digitized the tapes for documentary authenticity. -Keeping the camera crew small and the lighting natural, so that the film’s characters could realistically pull off the documentary. -Detailed scriptwriting by Sean Harris Oliver, such as specifying who holds the camera in each scene. Sean scripted the film with cleaner, more deliberate camerawork that degrades into chaotic, survival-mode footage as events progress. -How the team pushed hard for theatrical release against distributor pressure to go straight to streaming. They self-funded distribution and budgeted for marketing from the very beginning. Find where to watch Hunting Matthew Nichols in theaters and play the interactive game on the website: https://www.huntingmatthewnichols.com/ Find Sean Harris-Oliver: https://www.seanharrisoliver.com/ Instagram: @SeanHarrisOliver Find Justin Sebastian: https://www.justinsimonsebastian.com/ Instagram: @JustinSebastianDP Listen to our episode with producer Ted Hope, who discusses similar approaches indie filmmakers can take to understand and control the entire filmmaking process from budget to shoot to distribution: https://www.camnoir.com/ep352/ Show Rundown: 02:45 Close Focus 13:04-01:02:59 Sean Harris Oliver and Justin Sebastian interview 01:03:19 Short ends 01:12:42 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →Two horror films, one DP: They Will Kill You, Faces of Death
Apr 1701:11:12Tap to summarizeThe Cinematography Podcast Episode 353: Isaac Bauman Cinematographer Isaac Bauman captured the visual identities of two different horror movies in They Will Kill You and Faces of Death. Both films are currently in theaters. Bauman discusses the intricate technical gymnastics required to give each film a distinct, cinematic feel. Key Podcast Highlights: -Carefully developing the look of They Will Kill You and Faces of Death with each film’s director. -Solving big lighting challenges for They Will Kill You's climax, using a massive 18K light that had to be repeatedly moved. -Working with practical puppeteering effects for the crawling eyeball in They Will Kill You, which gave the scene a higher sense of realism. -Shooting on 35mm film for Faces of Death and intentionally reducing the camera’s visual capabilities. Isaac used wider lenses, stopped down, and embraced darkness to enhance the gritty, filmic quality of older movies. Find Isaac Bauman: Instagram @isaacbauman See They Will Kill You and Faces of Death in theaters. Hear our previous interview with Isaac Bauman: https://www.camnoir.com/ep242/ Show Rundown: 02:12 Close Focus 10:28-01:00:24 Isaac Bauman interview 01:00:45 Short ends 01:07:34 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →Ted Hope, Hope For Film: the rebirth of independent cinema
Apr 1101:11:12Tap to summarizeThe Cinematography Podcast Episode 352: Ted Hope Producer Ted Hope has worked in the film business for over 40 years, producing dozens of features with several Academy Awards nominations and wins. After leaving Amazon Studios in 2020, Hope went back to his roots as an independent producer and began writing his Substack blog, Hope For Film. He argues that the independent film ecosystem as we know it has reached its final days. However, far from being a tragedy, Ted definitely has hope for film. He sees what's happening in the industry today as a necessary seismic shift. Hope has a vision for a more “punk rock” future of cinema, with a decentralized, artist-owned future that prioritizes "freak flags" and human empathy over corporate consolidation. Key Podcast Highlights: -How filmmakers should stop trying to emulate "mini-Hollywood" productions and embrace a DIY, experimental approach with room to fail. -How the streaming era has killed the anticipatory joy of seeing a film when it’s simply dropped on a homepage, making it harder for the longer-term cultural engagement that helped independent films thrive. -Why ownership is the new path forward, paired with self-financing and total IP control. -Film’s best defense against AI is embracing cinema that mimics life and human complexity, with scripts that contain ambiguity rather than payoffs. -Why filmmakers must understand and control the entire filmmaking process, from budget and shoot to distribution. **A special note to our listeners: We have an exclusive discount link to subscribe to Ted Hope’s substack, Hope For Film! Get 50% a 1 year subscription at https://tedhope.substack.com/cinepod. This offer does expire on April 20 (4/20) at 4:20 PM PT. Yep, that’s on 4-20 at 4:20. Don’t miss out!** You can also find the discount link in our shownotes for this episode at www.camnoir.com Show Rundown: 03:07 Close Focus 06:44-01:13:14 Ted Hope interview 01:14:04 Short ends 01:25:42 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →Two DPs, one vision: creating the look of Pluribus
Apr 301:11:12Tap to summarizeThe Cinematography Podcast Episode 351: Marshall Adams, ASC and Paul Donachie Pluribus DPs Marshall Adams and Paul Donachie share a visual shorthand, love of wide shots, and creative freedom to craft inventive techniques using LED panels. Key Podcast Highlights: -Marshall and Paul’s collaboration as DPs, and how their shared aesthetic vision strengthens the show. -Getting absolute top-down permission from producer/director Vince Gilligan to take creative risks. -The importance of prep, rehearsal and flexibility in planning intriguing shots. -Focusing on finding visual effects in camera instead of relying on VFX, such as the LED rig Marshall built for the truck oner in the pilot episode. Find Marshall Adams, ASC: Instagram @smadadp See Pluribus on Apple TV Show Rundown: 02:22 Close Focus 11:46-46:45 Marshall Adams and Paul Donachie interview 47:22 Short ends 55:47 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →Lawrence Sher, ASC reimagines Frankenstein for The Bride!
Mar 2001:11:12Tap to summarizeThe Cinematography Podcast Episode 350: Lawrence Sher, ASC DP Lawrence Sher felt creatively challenged on The Bride! The "everything burger" movie combines many film techniques and influences, 1930's and contemporary lighting, contemporary actors dropped into archival movie footage, and practical makeup effects. Key Podcast Highlights: -Creating a stylized movie with director Maggie Gyllenhaal using multiple techniques and film influences -Honoring 1930’s filmmaking with longer lenses, and using real archival footage for the “movie within a movie” sequences. -The challenge of lighting and filming practical makeup effects on actors Christian Bale and Jessie Buckley -Finding creative inspiration in projects that excite and scare him Find Lawrence Sher: https://www.lawrencesher.com/ Instagram @lawrencesherdp See The Bride! in theaters Check out Shotdeck: https://shotdeck.com/ Hear our previous episodes with Lawrence Sher: https://www.camnoir.com/ep293/ https://www.camnoir.com/ep56/ Show Rundown: 01:38 Close Focus 09:43-50:05 Lawrence Sher interview 50:21 Short ends 57:08 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →2026 Academy Awards nominations with Jenelle Riley
Mar 1301:11:12Tap to summarizeThe Cinematography Podcast 2026 Oscar Special Jenelle Riley, three-time Emmy-winning entertainment journalist and host, chats with Ben and Illya for our SEVENTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized. They discuss this year’s nominations, including the likeliest Best Picture and Best Director contenders, Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners. F1 is also mentioned as an outlier for the category, although the cinematography by Claudio Miranda is excellent. This year's new category, Achievement in Casting, is celebrated as a much needed addition. The cinematography competition is a heated one, with both Autumn Durald Arkapaw and Michael Bauman as favorites, with Bauman recently winning the ASC Award. Some of the snubs this year include one of Jenelle's favorite movies, Life of Chuck. Song Sung Blue also didn't receive much awards love. Last year's awards omitted the worthy film, Thelma. Also discussed: Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress. Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley and Substack: https://substack.com/@rileywrites74/note/p-183180534 Tune in to the SAG/AFTRA foundation YouTube Channel to see Jenelle's interviews with several of the nominees this year. https://www.youtube.com/@SAGAFTRAFoundation The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
Transcribe →James Whitaker: Good Luck Have Fun Don’t Die’s visual chaos
Mar 601:11:12Tap to summarizeThe Cinematography Podcast Episode 349: James Whitaker, ASC Good Luck, Have Fun, Don't Die DP James Whitaker, ASC played with different genres, with over 70 setups a day in the Norm's diner set. He used LED walls and projectors to cast real, interactive light on the characters in the film’s climax, and swapped to a different camera system for certain scenes to play up the glow of cell phones. Key Podcast Highlights: -Shooting the opening sequence of the film in a set replica of Norm’s Diner -How director Gore Verbinski’s complex, hand-drawn storyboards allowed the crew to maintain a "ballet-like" precision during Rockwell's complex physical performances. -Using LED walls and projectors to cast real, interactive light on the characters in the film’s climax -Swapping to a Sony Venice 2 when the cell phone light source wasn’t strong enough in some scenes Find James Whitaker: Instagram @jameswhitaker_dop See Good Luck, Have Fun, Don't Die in theaters See James' most recent series, DTF St. Louis, on HBO Max See Patriot on Amazon Prime Hear our recent interview with Nicole Whitaker: https://www.camnoir.com/ep338/ SHOW RUNDOWN: 02:05 Close Focus 12:14-01:00:49 James Whitaker Interview 01:01:30 Short ends 01:06:46 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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