DP Doug Emmett on shooting the crime drama Furious
Furious DP Doug Emmett breaks down how the production team aligned on tone, lighting a penthouse with floor-to-ceiling windows, and creating...
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TV & Film
The Cinematography Podcast
Art, Business, Craft and Philosophy of the Moving Image
Episodes
20 of 445 episodes
Never After Dark: filming a ghost story in Japan using camera magic
Director Dave Boyle and DP Patrick Ouziel on making the ghost story Never After Dark in Japan: a 28-day shoot, a backlit zoetrope mirror, an...
Wesley Wang on building a studio for the internet generation
Director Wesley Wang on building Wesley Wang Media, an indie studio incubator for online creators, launching a $100K open contest, and stayi...
Special Episode: Remembering Rodney Charters, ASC, CSC, NZSC
Remembering cinematographer Rodney Charters, ASC, dp of 24, Sleepwalkers, and much more in this classic Cinepod conversation on craft, caree...
DP Brett Pawlak’s vision for Spider-Man: Brand New Day
DP Brett Pawlak on grounding Spider-Man: Brand New Day in natural light, practical suit design, and 17 years collaborating with Destin Crett...
Building a nearly silent crime drama in Motor City
Cinematographer John Matysiak on shooting Motor City's nearly dialogue-free story, real in-camera stunts, and building its 1970s Detroit loo...
Bringing indie instincts to Voicemails for Isabelle
DP Julia Swain on faking the Golden Gate Bridge, rigging a real tour bus, and bringing indie instincts to Netflix's Voicemails for Isabelle...
Michael Bauman on building horror for Monster: The Ed Gein Story
DP Michael Bauman, ASC on shooting Monster: The Ed Gein Story, building a visual language with period lenses, and lighting with just reflect...
Shooting mud, fog and firelight in A Knight of the Seven Kingdoms
DOP Gustav Danielsson, FSF on shooting HBO's A Knight of the Seven Kingdoms with naturalistic firelight, practical battlefield fog, and in-c...
Matt Ball on shooting in remote regions for Tucci in Italy
DP Matt Ball on shooting Tucci in Italy Season 2, the challenges of journeying to remote regions over tourist spots, and capturing emotional...
Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear
DP Eben Bolter, ASC, BSC breaks down the watery, noir lighting, anamorphic lenses, and practical tricks behind Apple TV's Cape Fear. Podcast...
Lyle Vincent on lighting the darkness of The Beast in Me
Cinematographer Lyle Vincent on shooting the Netflix series The Beast in Me with Panavision lenses and hard lighting that allow deep shadows...
Christian Sprenger on building the horror-comedy Widow’s Bay
Christian Sprenger, ASC on balancing horror and comedy in Widow's Bay with lighting, practical effects, and years of trust built with produc...
Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look
Peter Konczal, ASC on Black Rabbit's deliberately low-tech-analog toolkit, customized blue bounce light, and the gradual unraveling of its v...
Suburban street photography and voyeurism in DTF St. Louis
DP James Whitaker, ASC breaks down the look of HBO's DTF St. Louis: street photographs, a brutalist style police station, and inobtrusively...
Smoke, spotlights, Silicon Valley secrets in The Audacity
The Audacity DP Richard Rutkowski, ASC made Vancouver look like Palo Alto, used lens filters instead of special effects to create wildfires,...
Bonus Episode: Peter Deming, ASC
Peter Deming, ASC on shooting Evil Dead 2 with director Sam Raimi and working with director David Lynch on Lost Highway, Mulholland Drive, a...
Shooting in the dark: the making of Spider Noir
Cinematographers Darren Tiernan, ISC and Peter Deming, ASC are the DPs of Spider Noir, the new MGM Plus and Amazon Prime series starring Nic...
James Laxton, ASC Frames Class and Generation Gaps in Beef 2
James Laxton, ASC is the Academy Award nominated cinematographer of Moonlight. His latest project is Season 2 of Beef, the acclaimed Netflix...
Evoking dread in Something Very Bad is Going to Happen
Krzysztof Trojnar is the cinematographer of the Netflix series, Something Very Bad is Going to Happen. It’s a genuinely unsettling horror sh...