The Cinematography Podcast

Epizode

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  Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear 17.07.2026 1h 11min

  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: @ebenbolter Cape Fear is streaming on AppleTV. SHOW RUNDOWN: 01:59 Close Focus 14:14-58:02 Eben Bolter Interview 59:16 Short Ends 01:08:21 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Lyle Vincent on lighting the darkness of The Beast in Me 11.07.2026 1h 11min

  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: @lylevincent The 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 Interview 53:57 Short Ends 01:03:19 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Christian Sprenger on building the horror-comedy Widow’s Bay 01.07.2026 1h 11min

  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: @casprenger Widow's Bay is streaming on Apple TV. SHOW RUNDOWN: 02:05 Close Focus 14:19-01:11:22 Christian Sprenger Interview 01:12:43 Short Ends 01:17:26 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look 20.06.2026 1h 11min

  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_asc Black 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 interview 01:03:47 Short ends 01:10:21 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Suburban street photography and voyeurism in DTF St. Louis 17.06.2026 1h 11min

  DP James Whitaker, ASC breaks down the look of HBO's DTF St. Louis: street photographs, a brutalist style police station, and inobtrusively lighting intimacy. Podcast highlights include: -How street photography, not cinema, was the right reference point for shooting ordinary suburbs. -What led to the unusual set design and lighting of one of the key locations, featuring a brutalist interior that feels right out of Eastern Europe. -Engineering a remote-controlled lighting rig for the show's many intimate scenes, so that the mood never had to be broken. Find James Whitaker: https://wp-a.com/clients/james-whitaker#narrative Instagram: @jameswhitaker_dop DTF St. Louis is streaming on HBO Max. Hear our previous episode with James on Good Luck, Have Fun, Don't Die: https://www.camnoir.com/ep349/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Smoke, spotlights, Silicon Valley secrets in The Audacity 13.06.2026 1h 11min

  The Audacity DP Richard Rutkowski, ASC made Vancouver look like Palo Alto, used lens filters instead of special effects to create wildfires, and dramatized the themes of the show with spotlights and framing. Podcast highlights include: -How Richard and his crew made Vancouver look convincingly like Silicon Valley and why establishing a sense of place was a creative priority from day one. -Why glass filtration is still one of the most powerful tools in a DP's kit. -Richard breaks down exactly how he built the show's haunting wildfire look using physical filters in camera, with minimal reliance on post. -His philosophy of handheld as intimacy, choreographing the camera to follow the actor so that performance drives the frame. -How visual motifs like frame-within-a-frame compositions and strategic spotlight placement were purposeful to the show's themes, rather than being visually inventive for its own sake. Find Richard Rutkowski: http://see-no-evil.net/ Instagram: @richardrutkowskidp The Audacity is streaming now on AMC+ Hear our previous episode with Richard Rutkowski on Masters of the Air. https://www.camnoir.com/ep255/ SHOW RUNDOWN: 02:02 Close focus 22:27-01:11:32 Richard Rutkowski interview 01:11:45 Short ends 01:19:14 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Bonus Episode: Peter Deming, ASC 05.06.2026 1h 11min

  Peter Deming, ASC on shooting Evil Dead 2 with director Sam Raimi and working with director David Lynch on Lost Highway, Mulholland Drive, and Twin Peaks. Find Peter Deming: Instagram @peter_deming Spider Noir is now streaming on MGM Plus and Amazon Prime. The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Shooting in the dark: the making of Spider Noir 05.06.2026 1h 11min

  Cinematographers Darren Tiernan, ISC and Peter Deming, ASC are the DPs of Spider Noir, the new MGM Plus and Amazon Prime series starring Nicolas Cage as the hard-boiled 1930s New York detective version of Spider-Man. The character is based on Marvel Comics featuring Spiderman Noir, and first introduced in Spider-Man: Into the Spider-Verse. Tiernan and Deming created a series that looks like a classic film noir using vintage lights, custom LUTs and a “noir vocabulary.” We dive into: -How the production created a dual release simultaneously in both black and white and color. -Lead DP Darran Tiernan worked for months on LUT development and a workflow that kept every department aligned on both versions from day one. Monitors on set showed what the scenes would look like in black and white. -Why both Darren and Peter used old tungsten lights with Fresnel lenses instead of LEDs whenever possible. Not out of nostalgia, but out of necessity for getting the hard light that defines film noir. -How rigorous preparation, from shot decks before the first meeting to photo boards and green screens on location, allowed creative freedom to take risks in the moment when the cameras were rolling. -Why the goal was never to recreate classic noir but to absorb its philosophy of shadow, composition and expressionistic light and apply it to this specific story. That distinction is what makes Spider Noir feel fresh rather than like a period piece. Find Darran Tiernan: https://darrantiernan.net/ Instagram: @dazt Find Peter Deming: Instagram @peter_deming Spider Noir is now streaming on MGM Plus and Amazon Prime. SHOW RUNDOWN: 03:10 Close Focus 14:42-01:06:55 Darran Tiernan interview 01:06:58-01:39:36 Peter Deming interview 01:40:40 Short ends 01:53:43 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  James Laxton, ASC Frames Class and Generation Gaps in Beef 2 29.05.2026 1h 11min

  James Laxton, ASC is the Academy Award nominated cinematographer of Moonlight. His latest project is Season 2 of Beef, the acclaimed Netflix series created by Lee Sung Jin. This season explores themes of love, class, and generational cycles. Key Podcast Highlights: -How James and Lee built a color palette of spring, summer, autumn, and winter that stays continuous through lighting, costume, and production design to give each couple their own visual world. -Why shooting on the large-format ARRI 265 was a thematic decision, presenting characters as larger than life symbols of forces far bigger than themselves. -How light and framing portray the power dynamics, from a harsh, undiffused backlit golf course confrontation to wide symmetrical frames of opulence that trap characters inside the class structures surrounding them. -How James and Lee established a shared visual language, honoring the DNA of Season 1 while pushing the show somewhere entirely new. Find James Laxton: http://jameslaxton.com/ Instagram: @mrjameslaxton See Beef s. 2 on Netflix Hear our previous episode with James Laxton on Moonlight and If Beale Street Could Talk: https://www.camnoir.com/ep63/ SHOW RUNDOWN: 02:09 Close Focus 14:17-55:08 James Laxton interview 55:54 Short ends 01:07:09 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Evoking dread in Something Very Bad is Going to Happen 23.05.2026 1h 11min

  Krzysztof Trojnar is the cinematographer of the Netflix series, Something Very Bad is Going to Happen. It’s a genuinely unsettling horror show about a woman whose anxiety about an upcoming family wedding spirals into something far darker, with Krzysztof's camera work enhancing the feeling of dread. Key Podcast Highlights: -How the visual language of the show deliberately evolves across episodes, moving from Steadicam to gimbal to handheld to body rig, mirroring the protagonist's psychological deterioration in real time. -Committing to a single lens for nearly the entire show. Krzysztof shot roughly 90% of the series on a 25mm, and he explains exactly why that choice creates presence without distortion. -Fabricating a custom 360° body camera rig from scratch, because nothing like it existed as a rental. The rig used a Steadicam vest fitted with an industrial bearing to orbit the camera around the actress in the show's harrowing final episode. Find Krzysztof Trojnar: https://krzysztoftrojnar.com/ Instagram @krzysztof_trojnar See Something Very Bad is Going to Happen on Netflix Hear our previous episode with Krzysztof Trojnar on the series Baby Reindeer: https://www.camnoir.com/ep269/ SHOW RUNDOWN: 02:17 Close Focus 13:35-58:31 Krzysztof Trojnar interview 59:14 Short ends 01:07:08 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Lawrence Sher ASC: filming Apex in the Australian wilderness 15.05.2026 1h 11min

  Lawrence Sher, ASC, is the cinematographer of Apex, the action thriller currently sitting at number one on Netflix. Apex stars Charlize Theron as a woman hunted through the Australian wilderness by a relentless pursuer, and it's one of the most visceral and visually grounded survival thrillers in recent memory. The entire film was shot on location in the Blue Mountains of Australia. Key Podcast Highlights: -How the extreme remoteness of the locations forced a documentary-inspired toolkit, including the Sony Venice bodies packed into backpacks, lightweight lenses, very few lights and a skilled drone pilot. -Building a visual philosophy around what you can't control. Lawrence embraced shifting sunlight, unpredictable weather, and inaccessible terrain as creative assets rather than obstacles. -Using a "documentary grammar" framework to justify camera angles and movement, drawing on the visual language of climbing films like Free Solo and The Alpinist. -How streaming has changed a cinematographer's relationship to their work. Lawrence sees Netflix's democratizing reach as a genuine second chance for films that deserve a wider audience. Find Lawrence Sher: Instagram @lawrencesherdp See APEX on Netflix Check out Shotdeck: https://shotdeck.com/ Hear our previous episodes with Lawrence Sher: https://www.camnoir.com/ep350/ https://www.camnoir.com/ep293/ https://www.camnoir.com/ep56/ SHOW RUNDOWN: 02:32 Close Focus 13:01-56:48 Lawrence Sher interview 57:13 Short ends 01:07:44 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Tari Segal, ASC: visual magic in Margo’s Got Money Troubles 09.05.2026 1h 11min

  Margo's Got Money Troubles DP Tari Segal, ASC approached the show with spontaneity, intimacy, and a creative way to bring static backdrops to life. Margo's Got Money Troubles follows a young woman navigating an unexpected pregnancy, a complicated family, and some very creative ways to pay the bills. It’s one of the most visually inventive comedies currently streaming. Tari shot four of the show's episodes. Key Podcast Highlights: -How Tari and the team built a shooting style rooted in spontaneity that allowed the actors freedom of movement on set. -Using actual licensed music piped into the crew's headset and actors earpiece so the camera could keep tempo with the final cut. -Developing the visual language of the show, sometimes shifting from handheld, Steadicam, and studio modes {X} in the same scene. -Shooting the entire Vegas episode in just three days, and the practical tricks Tari used to make four-walled L.A. sets read convincingly as Las Vegas. Find Tari Segal: https://www.tarisegal.com/ Instagram @tarissegal SHOW RUNDOWN: 02:22 Close Focus 11:34-01:00:43 Tari Segal interview 01:01:17 Short ends 01:09:22 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  DP Greta Zozula on the look of The Testaments 02.05.2026 1h 11min

  DP Greta Zozula remakes the world of Gilead in The Testaments, a sequel to The Handmaid's Tale. She chose a very specific color palette and brighter look to show the optimism for the young women at the school for future wives. Flashbacks to the world of Toronto are sharper, grittier and more realistic. Key Podcast Highlights: -How Greta kept the same camera and lenses consistent from The Handmaid’s Tale into The Testaments, while brightening and widening the look for the optimistic young women of Gilead. -Establishing the aesthetic of The Testaments with a color palette of plums, pinks and greens rather than higher contrast reds and blacks. Greta also used different lenses and framing to separate Agnes’s world and Daisy’s world in Toronto. -Using miniatures and a probe lens for the opening sequence of the show as the camera takes us through Agnes’s dollhouse. Find Greta Zozula: https://www.gretazozula.com/ Instagram: @gzoz Show Rundown: 02:17 Close Focus 09:22-48:35 Greta Zozula interview 50:05 Short ends 53:53 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  The scrappy, indie production of Hunting Matthew Nichols 24.04.2026 1h 11min

  Hunting Matthew Nichols is an indie horror film that’s shot as a mockumentary/found-footage movie about a documentary filmmaker investigating her brother's disappearance 20 years earlier on Vancouver Island. Writer/producer Sean Harris Oliver and DP Justin Sebastian shot the horror film in 12 days, then independently released it into theaters. Key Podcast Highlights: -How cinematographer Justin Sebastian used Sony FX9 cameras on autofocus, shot archival footage scenes on period-correct cameras, and then physically digitized the tapes for documentary authenticity. -Keeping the camera crew small and the lighting natural, so that the film’s characters could realistically pull off the documentary. -Detailed scriptwriting by Sean Harris Oliver, such as specifying who holds the camera in each scene. Sean scripted the film with cleaner, more deliberate camerawork that degrades into chaotic, survival-mode footage as events progress. -How the team pushed hard for theatrical release against distributor pressure to go straight to streaming. They self-funded distribution and budgeted for marketing from the very beginning. Find where to watch Hunting Matthew Nichols in theaters and play the interactive game on the website: https://www.huntingmatthewnichols.com/ Find Sean Harris-Oliver: https://www.seanharrisoliver.com/ Instagram: @SeanHarrisOliver Find Justin Sebastian: https://www.justinsimonsebastian.com/ Instagram: @JustinSebastianDP Listen to our episode with producer Ted Hope, who discusses similar approaches indie filmmakers can take to understand and control the entire filmmaking process from budget to shoot to distribution: https://www.camnoir.com/ep352/ Show Rundown: 02:45 Close Focus 13:04-01:02:59 Sean Harris Oliver and Justin Sebastian interview 01:03:19 Short ends 01:12:42 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Two horror films, one DP: They Will Kill You, Faces of Death 17.04.2026 1h 11min

  The Cinematography Podcast Episode 353: Isaac Bauman Cinematographer Isaac Bauman captured the visual identities of two different horror movies in They Will Kill You and Faces of Death. Both films are currently in theaters. Bauman discusses the intricate technical gymnastics required to give each film a distinct, cinematic feel. Key Podcast Highlights: -Carefully developing the look of They Will Kill You and Faces of Death with each film’s director. -Solving big lighting challenges for They Will Kill You's climax, using a massive 18K light that had to be repeatedly moved. -Working with practical puppeteering effects for the crawling eyeball in They Will Kill You, which gave the scene a higher sense of realism. -Shooting on 35mm film for Faces of Death and intentionally reducing the camera’s visual capabilities. Isaac used wider lenses, stopped down, and embraced darkness to enhance the gritty, filmic quality of older movies. Find Isaac Bauman: Instagram @isaacbauman See They Will Kill You and Faces of Death in theaters. Hear our previous interview with Isaac Bauman: https://www.camnoir.com/ep242/ Show Rundown: 02:12 Close Focus 10:28-01:00:24 Isaac Bauman interview 01:00:45 Short ends 01:07:34 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Ted Hope, Hope For Film: the rebirth of independent cinema 11.04.2026 1h 11min

  The Cinematography Podcast Episode 352: Ted Hope Producer Ted Hope has worked in the film business for over 40 years, producing dozens of features with several Academy Awards nominations and wins. After leaving Amazon Studios in 2020, Hope went back to his roots as an independent producer and began writing his Substack blog, Hope For Film. He argues that the independent film ecosystem as we know it has reached its final days. However, far from being a tragedy, Ted definitely has hope for film. He sees what's happening in the industry today as a necessary seismic shift. Hope has a vision for a more “punk rock” future of cinema, with a decentralized, artist-owned future that prioritizes "freak flags" and human empathy over corporate consolidation. Key Podcast Highlights: -How filmmakers should stop trying to emulate "mini-Hollywood" productions and embrace a DIY, experimental approach with room to fail. -How the streaming era has killed the anticipatory joy of seeing a film when it’s simply dropped on a homepage, making it harder for the longer-term cultural engagement that helped independent films thrive. -Why ownership is the new path forward, paired with self-financing and total IP control. -Film’s best defense against AI is embracing cinema that mimics life and human complexity, with scripts that contain ambiguity rather than payoffs. -Why filmmakers must understand and control the entire filmmaking process, from budget and shoot to distribution. **A special note to our listeners: We have an exclusive discount link to subscribe to Ted Hope’s substack, Hope For Film! Get 50% a 1 year subscription at https://tedhope.substack.com/cinepod. This offer does expire on April 20 (4/20) at 4:20 PM PT. Yep, that’s on 4-20 at 4:20. Don’t miss out!** You can also find the discount link in our shownotes for this episode at www.camnoir.com Show Rundown: 03:07 Close Focus 06:44-01:13:14 Ted Hope interview 01:14:04 Short ends 01:25:42 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Two DPs, one vision: creating the look of Pluribus 03.04.2026 1h 11min

  The Cinematography Podcast Episode 351: Marshall Adams, ASC and Paul Donachie Pluribus DPs Marshall Adams and Paul Donachie share a visual shorthand, love of wide shots, and creative freedom to craft inventive techniques using LED panels. Key Podcast Highlights: -Marshall and Paul’s collaboration as DPs, and how their shared aesthetic vision strengthens the show. -Getting absolute top-down permission from producer/director Vince Gilligan to take creative risks. -The importance of prep, rehearsal and flexibility in planning intriguing shots. -Focusing on finding visual effects in camera instead of relying on VFX, such as the LED rig Marshall built for the truck oner in the pilot episode. Find Marshall Adams, ASC: Instagram @smadadp See Pluribus on Apple TV Show Rundown: 02:22 Close Focus 11:46-46:45 Marshall Adams and Paul Donachie interview 47:22 Short ends 55:47 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  Lawrence Sher, ASC reimagines Frankenstein for The Bride! 20.03.2026 1h 11min

  The Cinematography Podcast Episode 350: Lawrence Sher, ASC DP Lawrence Sher felt creatively challenged on The Bride! The "everything burger" movie combines many film techniques and influences, 1930's and contemporary lighting, contemporary actors dropped into archival movie footage, and practical makeup effects. Key Podcast Highlights: -Creating a stylized movie with director Maggie Gyllenhaal using multiple techniques and film influences -Honoring 1930’s filmmaking with longer lenses, and using real archival footage for the “movie within a movie” sequences. -The challenge of lighting and filming practical makeup effects on actors Christian Bale and Jessie Buckley -Finding creative inspiration in projects that excite and scare him Find Lawrence Sher: https://www.lawrencesher.com/ Instagram @lawrencesherdp See The Bride! in theaters Check out Shotdeck: https://shotdeck.com/ Hear our previous episodes with Lawrence Sher: https://www.camnoir.com/ep293/ https://www.camnoir.com/ep56/ Show Rundown: 01:38 Close Focus 09:43-50:05 Lawrence Sher interview 50:21 Short ends 57:08 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  2026 Academy Awards nominations with Jenelle Riley 13.03.2026 1h 11min

  The Cinematography Podcast 2026 Oscar Special Jenelle Riley, three-time Emmy-winning entertainment journalist and host, chats with Ben and Illya for our SEVENTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized. They discuss this year’s nominations, including the likeliest Best Picture and Best Director contenders, Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners. F1 is also mentioned as an outlier for the category, although the cinematography by Claudio Miranda is excellent. This year's new category, Achievement in Casting, is celebrated as a much needed addition. The cinematography competition is a heated one, with both Autumn Durald Arkapaw and Michael Bauman as favorites, with Bauman recently winning the ASC Award. Some of the snubs this year include one of Jenelle's favorite movies, Life of Chuck.  Song Sung Blue also didn't receive much awards love. Last year's awards omitted the worthy film, Thelma.  Also discussed: Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress. Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley and Substack: https://substack.com/@rileywrites74/note/p-183180534 Tune in to the SAG/AFTRA foundation YouTube Channel to see Jenelle's interviews with several of the nominees this year. https://www.youtube.com/@SAGAFTRAFoundation The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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  James Whitaker: Good Luck Have Fun Don’t Die’s visual chaos 06.03.2026 1h 11min

  The Cinematography Podcast Episode 349: James Whitaker, ASC Good Luck, Have Fun, Don't Die DP James Whitaker, ASC played with different genres, with over 70 setups a day in the Norm's diner set. He used LED walls and projectors to cast real, interactive light on the characters in the film’s climax, and swapped to a different camera system for certain scenes to play up the glow of cell phones. Key Podcast Highlights: -Shooting the opening sequence of the film in a set replica of Norm’s Diner -How director Gore Verbinski’s complex, hand-drawn storyboards allowed the crew to maintain a "ballet-like" precision during Rockwell's complex physical performances. -Using LED walls and projectors to cast real, interactive light on the characters in the film’s climax -Swapping to a Sony Venice 2 when the cell phone light source wasn’t strong enough in some scenes Find James Whitaker: Instagram @jameswhitaker_dop See Good Luck, Have Fun, Don't Die in theaters See James' most recent series, DTF St. Louis, on HBO Max See Patriot on Amazon Prime Hear our recent interview with Nicole Whitaker: https://www.camnoir.com/ep338/ SHOW RUNDOWN: 02:05 Close Focus 12:14-01:00:49 James Whitaker Interview 01:01:30 Short ends 01:06:46 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social