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Cinematography Podcast - Cam Noir
Cinematography Podcast - Cam Noir episodes
- 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 Cretton.
Podcast highlights include:
-How Pawlak and Cretton’s input about the suit design kept Peter Parker feeling human. The mask allowed Tom Holland's jaw to move, and his real eyes were visible through the mesh so the audience never forgets there’s a human under the mask.-Pawlak's approach to lighting a tentpole movie. Using as much natural light as possible.-Solving the Jean Grey telekinesis sequence with a simple method. Capturing a choreographed "wave" through the cast with both whip pans and lock-offs.-How fundamentals of story and composition don't change when scaling up from TV’s Wonder Man to a Spider-Man tentpole.Find Brett Pawlak: https://www.brettpawlak.com/
Instagram: @brettsboSpider-Man: Brand New Day is still playing in theaters and conquering the box office.
SHOW RUNDOWN:
01:50 Close Focus13:07-01:14:46 Brett Pawlak Interview01:15:25 Short Ends01:26:10 CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post DP Brett Pawlak’s vision for Spider-Man: Brand New Day first appeared on Cam Noir.
1 hr 12 min - 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 look from film tests.
Podcast highlights include:
-Why Motor City tells its story with almost no dialogue, and how that shaped everything from frame rate to needle-drop music. The crew tested wildly different frame rates to find moments where the image alone could carry the emotion of a scene.
-The commitment to shooting practical over digital, including a real car fight and a one-day elevator brawl. The team built real stunts on real streets, saving resources for the effects work that truly needed it.-How the team engineered Motor City's period 1970s Detroit look. Side-by-side film tests on 35mm and Alexa helped the team reverse-engineer a great film look for digital.-Pulling off an ambitious 44-location shoot in just 27 days. Heavy pre-production and storyboarding gave the crew the flexibility to improvise and pivot when locations and permits fell through at the last minute.Find John Matysiak: https://www.johnmatysiak.com/
Instagram: @john_matysiakMotor City is still in select theaters and available on pay per view.
Hear our past interview with John Matysiak and Potsy Ponciroli on their film, Old Henry: https://www.camnoir.com/ep143/
SHOW RUNDOWN:
02:09 Close Focus
12:46-01:01:45 John Matysiak Interview01:02:26 Short Ends01:11:33 CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Building a nearly silent crime drama in Motor City first appeared on Cam Noir.
1 hr 12 min - 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
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 exact sightline, then recreated the spot in a Vancouver park at night, using blue screen only where the bridge needed to be.
-How Julia pulled off shooting the most difficult scenes of the film: a real tour bus driving through San Francisco instead of faking it on a soundstage.-Why stepping up in budget didn't change how she and McKendrick actually work. The instincts built on tiny indie sets, and knowing what to prioritize and when to pivot, became the exact skillset that Julia needed to let them move fast on a much bigger show.Find Julia Swain: https://www.juliaswain.net/
Instagram: @juliaswainVoicemails for Isabelle is currently streaming on Netflix.
Hear our previous interview with Julia Swain on The Dreadful. https://www.camnoir.com/ep347/
SHOW RUNDOWN:
03:21 Close Focus
10:35-51:52 Julia Swain Interview52:13 Short Ends02:00:07 CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Bringing indie instincts to Voicemails for Isabelle first appeared on Cam Noir.
1 hr 12 min - 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 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 image a weathered, film-period feel.
-Lighting the Emmy-nominated Episode 6 sequence almost entirely with reflected and practical light. Rather than lighting the set conventionally, the crew bounced light and had actors sweep real flashlights themselves, revealing the horror gradually.-Why the "less is more" philosophy shaped how the show handles its most gruesome material. Instead of extreme gore, props and details were shot so that it was hard for the audience to see clearly, with sound design and suggestion doing the work.-How a single unbroken shot in the hardware-store reveal scene grew out of a scheduling crunch. Short winter daylight forced a one-take solution that ended up becoming one of the episode's most cinematic moments.Find Michael Bauman: Instagram @baumanlights
Monster: The Ed Gein Story is currently streaming on Netflix.Hear our previous interview with Michael Bauman on One Battle After Another. https://www.camnoir.com/ep343/SHOW RUNDOWN:
02:14 Close Focus11:37-53:40 Michael Bauman Interview53:57 Short Ends01:03:50 CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Michael Bauman on building horror for Monster: The Ed Gein Story first appeared on Cam Noir.
1 hr 12 min - 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-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 natural blue hour light in the wide shots before moving into closer setups.-Pulling off the massive dueling tournament in Episode 5, using practical fog and mud to set the mood.-The sinister gray mist was chosen as a practical solution to use fewer extras, and added to the atmosphere of dread as it obscured the combatants. As for the mud, it looked great, but the production team had to adjust as it quickly became hard as concrete when it dried.-Using a Ronin 4D rigged to an operator's chest for the helmet POV shots. Rather than adding digital effects, the second unit shot the visceral mace-impact perspective entirely in-camera.-Shooting the flashback sequences on a Panavision’s T-Series Anamorphic lenses to distinguish it from the present-day story without adjusting the color grade.Find Gustav Danielsson: https://gustavdanielsson.com/
Instagram: @gustavdanielsssonA Knight of the Seven Kingdoms is currently streaming on HBO.
SHOW RUNDOWN:
02:39 Close Focus10:44-01:04:42 Gustav Danielsson Interview01:05:10 Short Ends01:14:26 CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Shooting mud, fog and firelight in A Knight of the Seven Kingdoms first appeared on Cam Noir.
1 hr 12 min - 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 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 lean, self-contained crew for shoots in remote and hard-to-reach locations. The production has a "no egos allowed" policy where everyone — including Stanley Tucci himself — pitches in to make the day work.-Why what you see on screen is pretty close to what actually happened on the day, with editing driven mostly by time constraints rather than reshaping the story.-And a hint at the upcoming show, Tucci in Great Britain, exploring British food history, identity, and the influence of immigrant communities on the national cuisine.Find Matt Ball: https://mattballcamera.com/
Instagram: @mattbcamTucci in Italy Season 2 is currently streaming on Disney+, Nat Geo, and Hulu.
Hear our previous episode with Matt Ball on Tucci in Italy Season 1. https://www.camnoir.com/ep320/
SHOW RUNDOWN:
02:08 Close Focus09:16-50:32 Matt Ball Interview51:09 Short Ends01:04:55 Wrap up/CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Matt Ball on shooting in remote regions for Tucci in Italy first appeared on Cam Noir.
1 hr 12 min - 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 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 more conventional widescreen frame.
-Working with the production design team to capture the southern humidity and watery themes. Eben chose Atlas Mercury anamorphic lenses with an oval bokeh that give it a watercolor quality. The team also used helium and flame bars to create in-camera heat haze rather than relying on visual effects.-Rigging LED pixel tape and crystals inside the matte box to create practical lens flares on command.Find Eben Bolter: https://www.ebenbolter.com/Cinematography/Cinematography.html
Instagram: @ebenbolterCape Fear is streaming on AppleTV.SHOW RUNDOWN:
01:59 Close Focus
14:14-58:02 Eben Bolter Interview59:16 Short Ends01:08:21 Wrap up/CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear first appeared on Cam Noir.
1 hr 12 min - 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 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 entirely by Vincent, was approached less like television and more like one very long feature film.
Podcast highlights include:
-Lyle's long-running collaboration with director/producer Antonio Campos and how it shaped his approach to shooting The Beast in Me as one continuous long-form story, rather than eight separate episodes.-Using Panavision's Ultra Panatar lenses in the sweet spot, with just enough anamorphic blur without distortion.-How the lighting shifts as the characters’ true natures grow darker and harder-edged, undermining the audience's trust.-How Lyle's hard-light, deep-shadow style of Beast traces back to his early work on A Girl Walks Home Alone at Night. He lights only what he wants the camera to see and lets everything else fall to black.Find Lyle Vincent: http://lylevincent.com/
Instagram: @lylevincentThe Beast in Me is streaming on Netflix.Hear our previous episode with Lyle Vincent on the movie Rosemead: https://www.camnoir.com/ep337/SHOW RUNDOWN:
01:52 Close Focus
07:05-53:32 Lyle Vincent Interview53:57 Short Ends01:03:19 Wrap up/CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Lyle Vincent on lighting the darkness of The Beast in Me first appeared on Cam Noir.
1 hr 12 min - 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 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 unconventional ideas with total trust.-Why the team resisted moody, shadow-heavy horror lighting in favor of bright, high-key images inspired by Jaws and The Shining. Contrast and realism do the dramatic work instead of obvious genre inspirations.-The team's commitment to practical effects over VFX shortcuts and how that craft translates to audiences.-How Episode 6 became a deliberate break in format, and what it took to convince guest director Ti West to shoot within those constraints.Find Christian Sprenger: https://www.sprengerdp.com/
Instagram: @casprengerWidow's Bay is streaming on Apple TV.SHOW RUNDOWN:
02:05 Close Focus
14:19-01:11:22 Christian Sprenger Interview01:12:43 Short Ends01:17:26 Wrap up/CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Christian Sprenger on building the horror-comedy Widow’s Bay first appeared on Cam Noir.
1 hr 12 min - 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 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. It included one of a kind soot filters and scratched-up glass rulers wedged into matte boxes. These complimented detuned lenses and a low-contrast LUT.-How a custom greenish-blue fill light added contrast, separating the actors from the environment.-The inspiration for the asymmetrical framing from Michael Mann's The Insider. Pete and Martinović intentionally mismatched shots instead of using standard reverses.-Choosing to light large areas, allowing performances to unfold without interruption.-How Pete and director Laura Linney used tableaus to great effect in key scenes.Find Pete Konczal: https://www.iconictalentagency.com/pete-konczal
Instagram: @petekonczal_ascBlack Rabbit is streaming on Netflix.Hear our previous episode with Igor Martinović on the documentary The Pigeon Tunnel: https://www.camnoir.com/ep238/SHOW RUNDOWN:
02:08 Close focus
13:15-01:03:31 Peter Konczal interview01:03:47 Short ends01:10:21 Wrap up/CreditsThe Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcastFacebook: @cinepodInstagram: @thecinepodBlue Sky: @thecinepod.bsky.socialThe post Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look first appeared on Cam Noir.
1 hr 12 min
About Cinematography Podcast - Cam Noir
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Art, Business, Craft and Philosophy of the Moving Image