The Cinematography Podcast Episode 311: Jacques Jouffret, ASC

Netflix's American Primeval plunges viewers into the harsh realities of a gritty, naturalistic Western winter. Cinematographer Jacques Jouffret, ASC, who shot all six episodes, collaborated closely with director Peter Berg to immerse the audience in the era's unforgiving environment. “That was really a lot of hard work. Pete wanted the audience to feel the difficulty of living in that period,” says Jacques. “He wanted to feel the dirt, dust, grime and the ugliness of it and the violence of it. And I tried to get into that spirit. My job was to really make the audience feel that coldness, the chill that you are open to the elements.”

Jacques wanted the audience to feel the cold of American Primeval's harsh winter setting, even as the production continued into summer. One of the most significant challenges was maintaining a consistently overcast sky, and there were few interior locations. During the wintertime, it was easy to shoot wider to get the overcast sky, but the weather was constantly changing. Dutch angles worked not only as a stylistic choice, but also to help hide the sky when it wasn't overcast enough. The crew would strategically shoot close, shoot in the shade, or block the sky with silks.

Portraying visceral realism is an important element of Jacques and Berg's collaborations. They have worked together before on films such as Novocaine and Mile 22. “That's one thing that I love working with Pete,” he shares. “You're making the audience feel that this is real, you are watching something that is right there and I'm able to suspend that disbelief. And so that's really always the approach, to make it as real as we can. And yet I'm giving it some style to present more of the emotion, more of the mood, the atmosphere, and where I want the audience to be.”

To achieve a blend of raw reality and stylistic emotional depth on American Primeval, Jacques adopted a focused visual strategy, inspired by the legendary director Stanley Kubrick. Kubrick would choose just four or five strong visual ideas, and then repeat them over and over for visual impact.

For the series, Jacques established his own core visual tenets:

Expansive vistas: Super wide shots to take in the vastness of the Western scenery

Dynamic Dutch angles: Wide and close dutch camera angles to increase the feeling of discomfort and danger, while still including visuals critical to the story

Intimate compression: Lenses with long focal lengths that compress the image, allowing the audience to be with the character in the moment

Juxtaposition of extremes: A deliberate contrast between wide, long shots with everything in focus, contrasted with close-ups on the actors with a wide angle lens. This created a visual language emphasizing the harsh environment, and Jacques avoided medium shots.

Find Jacques Jouffret: https://www.jacquesjouffret.com/

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The Cinematography Podcast Episode 310: Baz Irvine, BSC, ISC

The second season of Silo on Apple TV+ is a dramatic visual departure from its predecessor, and cinematographer Baz Irvine, BSC, ISC is at the helm of this transformation. From the very first episode, as Juliette (Rebecca Ferguson) ventures into the seemingly deserted Silo 17, viewers are plunged into a progressively darker and more uncertain world. "I think the biggest challenge for Silo 17 was that, at first, it had to appear to be lifeless, but it wasn't," explains Baz. "It had to feel familiar but different; it had to definitely feel slightly terrifying. When I read the script, it said very specifically the whole silo was in darkness. Of course, there are different types of darkness. Movie darkness is very different from real darkness.”

Establishing the distinct look of the shut-down silo was very important. Baz and the production team wanted a more realistic and immersive experience in Season 2, as if viewers were right there alongside the characters. Their vision included creating a culturally distinct look for Silo 17 compared to Juliette's home, Silo 18, incorporating colorful murals and varied textures now falling into decay. As nature reclaims the failing structure, emergency lighting flickers throughout, casting an eerie greenish glow from beneath encroaching moss and vegetation.

Lighting Juliette's perilous journey was a key consideration. Baz conducted numerous lighting tests, and was able to request that Juliette find a functional flashlight in the script. He knew it was important to keep Ferguson's face illuminated amidst the gloom. “There's no way I'm gonna put Rebecca Ferguson through corridors and stairwells without having some detail on her face,” he commented. Baz used a range of lighting techniques, including balloons, silk, and a specially crafted soft pipelight wrapped in muslin for gentle top lighting, which added a subtle glow to her skin and a vital light to her eyes.

The cinematography in Silo also serves as a visual metaphor for its rigid social hierarchy. Economics and politics in Silo is always from the top down, and both the lighting and camera movement on the show reflect this. In Silo 18, the upper levels are characterized by brighter lighting, benefiting from more access to what little sunlight penetrates the underground city. Tim Robbins' character, Bernard, as the new mayor consolidating control, is consistently bathed in light.

This hierarchy in Silo extends to camera movement as well. The down-deep sections of Silo 18 utilize handheld cameras for a grittier, more immediate feel, while the upper levels are depicted with more elegant, slower crane movements, reflecting the contrasting lifestyles and power dynamics. For Season 2, the camera department maintained the same camera bodies but opted for different lenses. Baz made the deliberate choice to move away from anamorphic lenses, selecting wider lenses that require minimal focus. He adds, "Because everything is vertical in Silo, the biggest challenge as a cinematographer was constantly keeping in mind what's above and below the frame."

A significant and challenging new element for season 2 involved extensive underwater sequences. The crew constructed their own specialized tanks for filming. Baz considered using dry for wet techniques, simulating underwater conditions on a dry set, but it would be challenging and expensive to add special effects to make it look as though her hair was floating underwater. They did use another type of cinema magic to shoot the underwater sequences. "All of the vertical descents into the flooded silo were actually shot horizontally, with the camera turned sideways,” says Baz.

Baz found shooting season 2 of Silo to be a great source of creative fulfillment, from crafting the aesthetic of Silo 17 and tackling the ambitious underwater scenes. “I've been really lucky that I've been doing my best work at a time when we have got suc...

The Cinematography Podcast Episode 309: Scott Siracusano

The Hulu original horror film, Control Freak, plunges audiences into the unraveling world of Val (Kelly Marie Tran), a motivational speaker tormented by an unrelenting itch on the back of her head. Is it a manifestation of her own mind, or is she falling prey to a parasitic demon from her homeland? Control Freak is a body horror film that delves deep into themes of control, perfectionism, mental health, and generational trauma.

Cinematographer Scott Siracusano has known Control Freak writer and director Shal Ngo since 2019. The two made a short, The Box, which went to the prestigious Cameraimage Film Festival in Poland. Their creative partnership continued on another short film, Control, for season two of Hulu’s Bite Size Halloween. When Ngo was invited to expand Control into a feature-length film, Control Freak was conceived. Scott was captivated by the script and eager for the creative challenges it presented. Unfortunately, the film hit several roadblocks and delays before shooting was finally greenlit by the network. As a first-time feature DP, Scott had to meet with producers and pitch himself as the best cinematographer for the film. Championed by Ngo, Scott meticulously prepared a lookbook and presented his scene-by-scene shooting strategy in an hour-long meeting, ultimately securing his role as the film's cinematographer.

One of the most significant cinematographic challenges on Control Freak was executing its underwater sequences. Due to a limited budget, there wasn't enough time or money to shoot the actors in real tanks of water. Scott chose to use dry for wet film techniques, where smoke, specialized filters, and dynamic lighting effects are skillfully combined to simulate an underwater environment. Inspiration for this approach came from Dan Laustsen's masterful work in The Shape of Water. “What I realized is that it is truly a less is more situation,” Scott says. “We need to have the caustics of water and moving lights that you would feel on your subject in tandem with atmosphere, and particles that could be added as effects. I was like, 'I think we could pull this off. I think we could actually do this.'” The biggest concern was creating realistic hair and body movement floating in water, so the actors' hair was tied back for these scenes. The production team found a music performance space where they could build a wire rig, enabling the actors to “float.” For close ups, Scott found simply having the actors sit and move around on a yoga ball effectively created a floating effect. Two projectors helped simulate water patterns, and the room was filled with atmospheric haze. Subtle fill light and slight camera movements completed the effect. Ultimately, these practical in-camera effects were so successful that the film required minimal visual effects for its underwater scenes.

The lighting and color palette of Control Freak were crucial in establishing a claustrophobic atmosphere and exploring the film's central duality between sanity and madness. "We really wanted to lean into the surrealism and the dreamlike state of everything,” explains Scott. “Moonlight definitely allowed us a little bit more shaping, and being able to hide the monster. I really wanted to have rich, detailed shadows that were never true black—always some detail, no matter how dark the shadows.” Val's house was intentionally kept as an enclosed space, with curtains constantly drawn, immersing the audience in her confinement and heightening their sense of being trapped alongside her.

As a horror fan himself, Scott loved creating the look and feel of Control Freak. “It's so cool and fun being on set, in the actual world with the creature there.” His takeaways from lensing his first feature included the importance of faithfully executing the director's vision while remaining adaptable to the unpredictable nature of filmmaking. “Going into a feature,

The Cinematography Podcast Episode 308: Jessica Lee Gagné

Cinematographer Jessica Lee Gagné is an essential creative force behind Severance on Apple TV+. She has an expanded role in the show's second season with a producer credit and directs the pivotal episode 207, “Chikhai Bardo.” The series' unique look and world-building is meticulously crafted through extensive testing and close collaboration between her and showrunner Ben Stiller, who also directs the majority of episodes.

For Severance Season 2, Jessica embraced a darker aesthetic, intentionally tweaking the look from the previous season. Even within the artificial office environment of Lumon, she pursues a blend of natural realism and heightened visuals, favoring practical, in-camera effects whenever possible. Location shooting for the episodes “Woe's Hollow” and “Sweet Vitriol” required flexibility due to changing weather conditions. Unexpected foggy weather worked in the crew's favor while shooting “Woe's Hollow” and enhanced the spooky atmosphere of Irving's nightmare sequence.

Inside the Lumon offices, lighting is pre-planned as part of the production design, with lights built into the ceiling and the set. Season 2 introduces more complex and colorful lighting cues compared to the first season, especially in the finale. Vibrant green and blue lighting creates a feeling of chaos during the “Choreography and Merriment” marching band performance, and intense red emergency lighting strobes down the halls as Mark and Helly attempt their escape. “Red is a color that we don't use in the show in general,” notes Jessica. “You have this association with love, passion, intensity with the color red. And then in the final shot, we land in this deep red moment with them, that was transferred onto film in the end and rescanned to give it an actual authentic feel.”

Jessica decided she wanted to direct for the first time on season two, despite feeling nervous about it. She chose episode 207 “Chikhai Bardo,” which explores Gemma and Mark's past and depicts how Gemma is tormented at Lumon in different severed tests. “This was something that I really deeply wanted,” she explains. “I realized that on this show with the crew that knew me, the cast that knew me, with Ben (Stiller) supporting me and the producers as well, that this opportunity would never come up for me again in my life. I really needed to just go for it and give it my all.” Jessica also was director of photography for the episode, since she felt so familiar with creating the show's look. However, the dual role was challenging. “That was harder,” she admits. “And then working with myself was weird. I realized on set that everything was going so fast.” There was no pausing for a separate director-cinematographer discussion after takes, which meant turning to others for validation and support. Directing the cast was a rewarding experience and they welcomed her leadership. Jessica had extensive conversations with actress Dichen Lachman (Gemma) beforehand to explore her character's emotional state and shifting personalities within the episode.

A significant element of episode 207's visual language involves sequences depicting Mark and Gemma's past, which were captured on film. While Severance primarily uses digital cameras, Jessica opted for both 35mm and 16mm film for the flashback moments. Borrowing a Bolex camera from the gaffer, she and director Ben Stiller shot some of these intimate sequences between Mark and Gemma on the fly.

Jessica is currently in the process of directing her first feature. She will always have a deep appreciation for cinematography. “I feel like I have so much respect for that craft," she says. "After being in it for 15 years, I know what goes into it. I know how you have to be such a giving person to do that. And I really do love it so much.”

You can see Severance on Apple TV+

Hear our previous interview with Jessica Lee Gagné about Severance Season 1.

Special: Adam Bricker, ASC

Cinematographer Adam Bricker, ASC chats with Illya at our live podcast event hosted by the Broadcast Education Association at NAB Las Vegas. Adam discusses his early career and education, his breakthrough role as the DP of Chef's Table on Netflix, and his work as the sole cinematographer on all four seasons of the Max TV show, Hacks.

Adam enjoys shifting between the documentary style of Chef's Table and the narrative scripted comedy of Hacks. "I want my documentary work to be like a movie, and I want my movies to feel more like documentaries," he says. "So I think that they're obviously different muscles. I've been lucky to do a season of Hacks, and then spend the summer traveling with my friends and shooting Chef's Table and then going back to Hacks."

You can watch the current season of Hacks on Max, and the new season of Chef's Table: Legends will be on Netflix April 28.

Find Adam Bricker: Instagram @realadambricker

Hear our previous episode with Adam Bricker from 2021. https://www.camnoir.com/ep133/

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The Cinematography Podcast website: www.camnoir.com

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The Cinematography Podcast Episode 307: Johanna Coelho

As the cinematographer of all 15 episodes of The Pitt, Johanna Coelho helped create a fresh take on the medical genre's visual style. Executive producer John Wells wanted a feeling of constant urgency and realism to the hospital drama. They chose to treat The Pitt as if it were live theater, meticulously choreographing and blocking every action and movement within the bustling emergency room setting.

Most of the episodes of The Pitt were shot in order, which helped with continuity on set. Johanna used the scripts as her blueprint, which carefully detailed character positioning in the background and clearly indicated the point of view for each scene. Her shot lists were fluid, evolving organically from the actors' movements within the space. This approach gave the camera operators remarkable freedom to follow the kinetic energy of gurneys and operating tables as they navigated the ER. The set was entirely open, with few places for the camera people to hide, so the entire crew wore scrubs to blend in. “Because of the way it's shot, the way everyone moves, we do no marks on the set,” says Johanna. “There's no marks, there's no lighting on the ground. It's a 360 set completely.” This required flexibility from the crew to embrace the spontaneous adjustments made by both the actors and the camera team, only doing additional takes when absolutely necessary.

With an open set, Johanna and the electrical team had to get creative with their lighting strategy. The lighting was all integrated into the ceiling and run through a dimmer board. Absolutely no stands, flags, or fill lights were on the floor of the set. The gaffer created custom lighting that could be attached to the matte box on the camera and the occasional fill light was handheld on a pole. Cameras were entirely hand held, using a ZeeGee camera rig on a Steadicam arm, enhancing the sense of immediacy. As a result, the actors and crew never had to wait around for lighting or camera setups, which enabled them to shoot at a fast pace, about 9-10 pages per day. “We shoot extremely fast,” explains Johanna. “We come in at call time, we do the blocking and then we're ready to shoot, because the lighting is integrated. It's happening so fast, and we know the space so well. It's mostly the same pace and space all the time.”

The immersive world of The Pitt was primarily constructed on a stage at Warner Bros. Studios in Burbank, with select exterior shots filmed on location in Pittsburgh. The production heavily relied on practical effects, employing detailed prosthetics and makeup captured in close-up to amplify the raw and visceral feeling of working in a high-stakes emergency room. “When I read the scripts, I felt it was clear you needed to be immersed in the middle of it,” says Johanna. “It's an experience for the audience, but it was also an experience for the crew shooting it. We were really inside that bubble, inside that ER set with the cast and crew.”

You can see The Pitt on Max

Find Johanna Coelho: https://www.johannacoelho.com/

Instagram @johanna_coelho

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Daredevil: Born Again cinematographers Hillary Fyfe Spera and Pedro Gómez Millán were both admirers of the original Daredevil on Netflix. As the lead cinematographer on the new series, Hillary wanted to bring something new to the look of the story. “The goal was to evolve it, to bring it to a more cinematic realm,” she says. This vision was achieved through the use of anamorphic lenses, lending a more elevated and cinematic feel. Influenced by 1970s cinema, particularly The French Connection, they established a strong visual reference point.

Production, initially launched in 2022, was interrupted by the writers' strike. This hiatus allowed the showrunners to reassess the existing footage. Upon resumption, the production underwent rewrites and the addition of new material. Hillary was the DP for episodes 1, 2, 3, 6, 7, 8, and 9, while Pedro shot episodes 4 and 5 and served as second unit cinematographer. Their collaborative approach was essential to maintaining a cohesive visual style. “We didn't want every episode to look the same,” says Pedro, “so what can we do to make it better? It's about being a team player and executing that one single vision that everybody's on board for.”

A key challenge was visually representing Daredevil's heightened senses due to his blindness. Hillary explains, “One of our challenges that we collaborated on was the sensory stuff. We're trying to represent a visual thing that's not visual, so it was fun to put our heads together and see what worked and what didn't work.” Consistent communication was facilitated by a shared camera crew, ensuring a unified visual approach across episodes. The process kept the production dynamic and engaging.

To define the visual world of Daredevil: Born Again, both DPs employed a range of cinematic techniques. Color transitioned from a desaturated palette to increased saturation as the narrative progressed, with a heightened use of red to signify Matt Murdock's return to his Daredevil persona. These choices were meticulously planned in collaboration with the production designer.

Hard lighting was strategically used to emphasize that there was nowhere to hide in the courtroom settings. Pedro enjoyed using hard light on Fisk/Kingpin, noting, “Let's take the hard light and make it interesting, especially because these two actors can take it. It goes with the character and the story. He's in the spotlight as the New York City mayor.”

Camera movement in the show was also carefully considered. Matt Murdock's world is depicted with handheld shots, conveying a sense of immediacy, while Fisk's world is characterized by locked-down shots, dollies, and wide-angle close-ups, reflecting his power and control. Hillary chose to use many long zooms throughout the show. “We called them 'doom zooms,'” she explains. “This impending doom that's happening in the first season, it's all relentlessly crushing down. And so the zooms are doing the same thing- they're pushing in and targeting one thing.”

You can see Daredevil: Born Again on Disney+

Find Hillary Fyfe Spera: Instagram @hillaryspera

Find Pedro Gomez Millan: Instagram @pedrogmillan

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Rachel Mason's documentary, Last Take: Rust and the Story of Halyna, is not a sensationalist recounting of tragedy. It's a deeply personal exploration of the life and untimely death of cinematographer Halyna Hutchins, whose life was tragically cut short on the set of Rust. Rachel, a friend and fellow filmmaker, centers the narrative on Halyna herself, weaving together interviews with her friends and colleagues to illuminate her legacy beyond the sensationalized headlines.

Rachel and Halyna became friends through their children, who were classmates at the same daycare. This shared experience blossomed into creative collaboration, with Rachel and Halyna working together on music videos, gallery installations, and performance art pieces. Following Halyna's death, her widower, Matt Hutchins, entrusted Mason with the task of creating a documentary, out of a desire to counter the overwhelming media frenzy. “At first, the idea of doing a documentary about Halyna made literally no sense,” Mason recalls. “She's the person I wanted to make films with. Suddenly I had to recognize, no, she has passed on, and someone's got to tell the world who she was.”

Rachel dove into Halyna's filmography and personal film archives that she had stored on hard drives. Halyna's detailed notebook for Rust, filled with ideas and references, offered a profound insight into her creative process. While Rachel wanted to create a beautiful biography about her friend, she recognized the need to confront the media's portrayal of the shooting. “The media portrayal of the way things unfolded became part of the film, because all the different people involved got distorted in the media. That became part of grappling with this story and trying to find the truth by going back and meeting the real people who were there.”

As Halyna's friend, Rachel gained the trust of Halyna's colleagues on the film, who shared their memories of her. Halyna's own words from her notebooks and in messages and emails add to the narrative. Rachel also had to sit through the trial of the armorer, Hannah Gutierrez-Reed, which was one of the of the hardest things she had to do for the documentary.

The decision to complete Rust after Halyna's death sparked ethical debates within the film community. However, her family, including her mother, strongly supported the project. Rachel, who was granted exclusive access to the set during filming, believes that finishing Rust was essential. “Halyna wanted the world to see her work. She was so ambitious,” Mason emphasizes. “I have no doubt, Rust was gonna be the film that all the other directors would see a new, up and coming superstar. This would have taken their breath away. She would have gotten calls—she would have been a high level DP.”

You can see Last Take: Rust and the Story of Halyna on Hulu.

Find Rachel Mason: https://www.futureclown.com/

Instagram:@futureclown

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The Cinematography Podcast website: www.camnoir.com

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For director Rory Karpf, a core philosophy is that things are going to change- a lesson learned from years of documentary filmmaking. This flexibility proved invaluable when crafting his indie feature, Grace Point. Adapted from a larger, more ambitious script, Grace Point tells the story of a young man on his way to a remote drug rehab. His journey takes a dark and unexpected turn when he finds himself in a strange town being chased by the locals and his own personal demons.

The genesis of Grace Point began with a documentary shoot in a very specific location. Rory and cinematographer Al Francesco were working on recreations in Laurinburg, North Carolina. Al suggested that Rory reimagine the script as a smaller, more intimate indie film, using the town's natural settings. They were able to find every location they needed in Laurinburg and the surrounding area.

The rapid 19 day production schedule with 10-hour workdays required working around outdoor shoots and unpredictable Southern weather. With many locations donated, Rory and Al knew they couldn't waste time with reshoots or lose any days to the weather. They dedicated two weeks to detailed location and technical scouting, meticulously planning shots and coverage. Al found the time to be flexible and see compositions when they naturally occurred, like taking advantage of a beautiful foggy morning during the shoot.

Rory and Al's background in documentary filmmaking proved to be a significant asset. "One thing I learned with documentaries are things are gonna change," Rory states. "With narrative scripted filmmaking, it could be the actor isn't getting the scene right for whatever reason. We're gonna try something a little bit different, and be open to that working." Al's documentary instincts led him to adopt a "keep the camera rolling" approach, even after "cut" was called, capturing authentic reactions. He also streamlined the process by lighting entire scenes and shooting multiple angles without resetting, and even capturing close-ups and inserts during rehearsals.

The collaboration between Rory and Al began at NFL Films, where they honed their skills on sports documentaries featuring prominent figures like Peyton Manning (The Book of Manning) and Snoop Dogg (Coach Snoop). These “follow docs” often involved recreations, which served as mini-movies, providing valuable experience for their transition to narrative filmmaking. Their established network of crew members, producers, and access to affordable gear proved crucial. "It's not a negative for us to have a small crew and make the most of it- that's normally what we do," Al notes.

For Rory, the most vital aspect of filmmaking is fostering a positive and enjoyable atmosphere. "Working with Al, he makes the stuff look great, but he also understands how it incorporates in the story," he says. This blend of technical expertise and storytelling acumen is what brought Grace Point to life, proving that even with limited resources, passion and ingenuity can create compelling cinema.

You can purchase Grace Point on Apple TV and Amazon Prime.

Find Rory Karpf: https://www.gracepointfilm.com/

Find Al Francesco: https://www.albefilms.net/

Instagram: @gracepointfilm

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Heart Eyes isn't your typical horror film or romantic comedy. It's a genre-bending fusion of sweet romance and chilling slasher horror. Cinematographer Stephen Murphy, BSC, ISC has crafted a film that authentically captures the tone of both genres. This ambitious goal required a nuanced approach to lighting and color, a visual language that could seamlessly transition between heartwarming romance and heart-pounding terror.

Director Josh Ruben “was very clear from the beginning that he wanted to make a very earnest love letter to rom-coms AND to slasher movies- particularly rom-coms and slasher movies from the 80s and 90s,” says Stephen. “He didn't want us to shortchange either one. He wanted to make a genuine rom-com and a genuine slasher movie, but in the same film.” Stephen found it challenging mixing the two genres to find the right balance. The film begins with the warm, inviting tones of a classic rom-com, bathed in warmer colors that create a sense of comfort and affection. As the sinister presence of the Heart Eyes Killer emerges, the palette begins to shift into blue, moonlight shade that signal the arrival of horror. It was important to Stephen that the horror elements wouldn't succumb to gloomy, underexposed visuals. He aimed for clarity, using harder backlights and harder shadows to maintain a sense of definition and keep the actors looking their best, even amidst the chaos. This approach ensured that the rom-com aesthetic persisted, even as the slasher elements intensified.

Both Ruben and Stephen were influenced by the movie I Know What You Did Last Summer and Jaws. They used storyboards for key moments in certain scenes, then built the rest of the scenes around the boards. Filmed in New Zealand, Heart Eyes was a fast-paced production, moving from greenlight to release in just twelve months. The film's horror sequences relied on a blend of practical and visual effects, with the Heart Eyes Killer's mask being a prime example of practical effects. Made in Los Angeles, Stephen had time to practice lighting it and testing the light-up eyes. During preproduction, Stephen discovered that keeping constantly moving lights on the killer in the mask kept it looking sinister.

Stephen's previous experience working on horror films proved invaluable on Heart Eyes. He also was a cinematographer on the TV series Atlanta and Mr. & Mrs. Smith, for episodes shot in Europe. On these projects, he enjoyed the creative freedom to explore different styles and shoot those episodes a bit differently than the rest of the series.

Heart Eyes is currently available for purchase on VOD.

Find Stephen Murphy: https://www.stephen-murphy.com/

Instagram: @stephenmurphybsc

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

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The Cinematography Podcast website: www.camnoir.com

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Facebook: @cinepod

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