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My interviews with the cast of THE ODYSSEY.

Michael Sarnoski (Pig, A Quiet Place: Day One) breaks down how he and DP Pat Scola made The Death of Robin Hood for A24. Shot on 35mm Kodak film in Northern Ireland through brutal weather, a fully practical burning hut built to survive 15-minute takes, and a deliberate aspect ratio shift that marks the story's turn. We get into the brutal/beautiful balance at the heart of the film, how rigid the shot list actually is on set, and why "natural light" is more precise and deliberate than it looks.

 I sat down with cinematographer Eben Bolter (THE LAST OF US, AVENUE 5, SECRET INVASION, THE LIFE OF CHUCK) to break down how he and the team built the visual language of CAPE FEAR.

We talk about shooting with the Alexa 35 and Atlas Mercury lenses, using hard light in an era of soft lighting, embracing theatricality over realism, creating Javier Bardem’s reveal, why they leaned so heavily into water motifs, and how a major prestige TV series ended up looking far bolder than most modern streaming shows.

If you’ve ever wondered why some movies and TV shows feel visually alive while others feel safe, this conversation is for you.

A conversation with Kane Parsons on making the BACKROOMS movie, coming from YouTube, and what might be next for the series.

My conversation with Sophy Romvari about BLUE HERON.

A deep dive into the cinematography of the HBO mini-series DTF. St Louis with cinematographer James Whitaker

I sat down with Academy Award-winning cinematographer Greig Fraser to break down why Project Hail Mary looks so good.

nirvanna the band the show the movie is one of the most interesting and innovative piece of filmmaking i’ve ever seen… it’s a film that is so deeply entertaining, heartfelt, and hilarious, but it’s also an incredible technical cinematic achievement, i can’t even tell you how many times i thought to myself, how did they shoot this? and as someone who wants to make movies it felt like giant permission slip that said… hey you can do anything with a camera, and so it was an absolute honour to have director and star Matt Johnson, along with cinematographer Jared Raab over to really get in the weeds on how they shot this movie, and what cinematography can be in the modern era when it comes to the visual language of cinema and camera technology.
we really hit the ground running on this one we didn’t even have time for introductions but this is probably my favorite conversation i’ve ever had about movie making… so i really hope you enjoy learning about how they shot nirvanna the band the show the movie, with Matt Johnson and Jared Raab.

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In this episode we chat with Liam from Created Labs about his monumentally rapid success on YouTube after dialling in on the M1 machines from Apple.