I sat down and watched NETFLIX's "Keep Sweet: Pray and Obey" and was impressed by the work of Justin Zweifach. I was going into production on a true crimes TV series and reached out to him to discuss his workflows and challenges in creating this dark beautiful mini-series.

Zak talks about his film shot on super 16mm - WE THE ANIMALS.  A beautifully gritty story worth checking out.  

Shares insight on vintage lenses, mixing digital with film, creating film grain and much more.

Recorded March 2020.  Covid hit, had kids and been 2nd unit DP / Operator on some long format TV shows - finally found some time to get this edited.

Intrigued by the look of his film 'HEAL' I reached out to Chris and in 2 days had a podcast lined up. Full of generous amazing nuggets of information.  From Stuntman > Stills Photographer > Camera Operator > DP - It's not the camera, its the lenses & lighting that makes you. Lighting / Camera / Lensing choices on Netfilx Documentary "HEAL" C100/C300MK1/ALEXA/RED, developing a language with the director. Love of vintage Nikon Lenses, how to accentuate what is already there and work with the lighting / environment. Specific tricks & tactics for interview lighting, discipline of coming up shooting film, If you're not doing something everyday that makes you nervous, you're not doing your job right.  

www.gallodp.com  // instagram: @gallodp

An instinctive Cinematographer and kind soul, Catherine shares with me personal life experiences: Working with your Gaffer, Pushing ISO on Alexa,  Microbudget productions, Creating LUTS with colorist for on set, Navigating work life balance - how she takes time for herself to reset, How to get the kind of work you want to be doing,  Using/not using gimbals / easyrig,  Developing a relationship with your focus puller, How to be a leader on set...

www.catherinelutes.com // instagram: @brutes

Like hearing how it's made? Then this one is for you. Technical breakdowns with practical solutions. "It's not what it is, its what it looks like". Remember these bands: Our Lady Peace & Finger Eleven? - classic music video technical breakdowns - shot on film. Hello Goodbye (TV): Shooting Reality TV with multiple cameras. Shooting Docu-Dramas: How to navigate your creative input and get the shots you want with a Director who has different ideas. Insight on his 2 tries for acceptance as a full CSC member and more... 

www.michadahan.com  // Instagram : @dahanmicha

Stuart Campbell: I was in advertising as an art director for about 10 years. It got to a point where I had to find something else to do because the industry changed so much. It wasn’t as creative. My skills just naturally went to shooting. I took photography in high school, and I did some skate films. It wasn’t until after I decided to leave advertising that I realized I loved cinematography. Stuart sheds some great insight with me coming from an art director agency perspective. Which isn't often you hear this side of it. Additional content notes:  His personal go to gear, started out as a Pro Rollerblader at Camp Woodward, moving from Art Director to Cinematographer, what he looked for when hiring a Cinematographer and how to build a demo reel from a creative agency perspective,  why idea is paramount over technology, practical decisions on choosing gear, spherical vs anamorphic in the real world.   

www.stuartcampbelldp.com // instagram: @stuartcampbell

Hosted by Cinematographer Martin Wojtunik, Maya has a warm heart and a killer instinct. She shares some great experiences with shooting 'Workin' Moms' & how she got selected for the job. The type of work that draws her in. Explores a different take on being a working female Cinematographer. From graduating York U film school to becoming successful. Working as a union DP and relinquishing the role of operator but still having it maintain her style. Surrounding yourself with talented crew to be successful. And much more... ❤️  

www.mayabankovic.com // instagram: @cheez_unit

Mike McLaughlin Director of Photography Known for creating fresh and engaging images, Mike McLaughlin has worked as a cinematographer on numerous narrative films, documentaries, and commercials over the past ten years. He is especially known for working with celluloid and vintage film cameras to create unique aesthetics. In 2012, McLaughlin received a Canadian Screen Award nomination for his cinematography on “The Perfect Runner”, an episode of The Nature of Things. Other notable credits include Trevor Anderson’s The Man That Got Away—winner of the DAAD short film prize at the Berlinale in 2012, and Kyle Thomas’ feature-length debut, The Valley Below—World Premiere at the Toronto International Film Festival in 2014. McLaughlin recently completed his first narrative series for CBC Television, Four in the Morning. He is based in Toronto, ON. 

https://vanguardeartists.com/artist/mike-mcloughlin/  // Instagram: @mglocks