The Director & The D.O.P

Episodes

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  How Do You Edit a Film for Four Screens at Once? | Ep 25 w/ Jamie Rusiti 14.10.2026 1h 14m

  For the first time, we put an editor in the chair. Jamie Rusiti breaks down a Destination NSW immersive experience — a four-screen dome you physically walk inside — that he and Ethan built together over six months with no rulebook to follow.How do you cut for a room where the audience can look anywhere they want? Jamie gets into the homemade four-screen preview rig, the RED Komodo 360 array, a 12-speaker sound mix designed to steer your eye around the space, why everything had to be locked on a tripod, and the hardest lesson of all — pacing your cuts so people have time to look around without losing the story.Then a genuinely great conversation about editing itself: why a film is written three times, the "make the worst edit you can" trick for beating the blank page, why editors should never be on set, and what it means to dream about your timeline.00:30 Intro06:35 The Breakdown: a film for four screens23:52 A 12-speaker mix that steers your eye56:30 On editing: a film is written three times1:00:50 Life of a Freelancer: booking holidays🎙️ New episodes weekly.#thedirectorandthedop #filmediting #postproduction #immersive
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  We Built a Monster by Hand (No AI, No VFX) | Ep 24 w/ Andrew Seaton 07.10.2026 1h 2m

  In an age where everyone's reaching for AI, director Andrew Seaton (Mint Films) built a monster by hand. He breaks down ResMed "Lossy" — a lack-of-sleep puppet brought to life with a hand puppeteer and mechanical eyes instead of VFX, and why the tangible, practical approach gave it a charm no prompt could.Andrew takes us through finding puppeteer Rob Cook, ADR-ing a puppet into cute international gibberish, and the on-set magic of grown adults talking to the puppet instead of the man inside it. Then the Mint Films story, and a genuinely useful conversation on directing: decision fatigue, directing athletes vs actors, and using callbacks as rehearsals.Plus What We Watch: a Jamiroquai "Virtual Insanity" redo, a sound-design masterclass, and a love letter to Gary Oldman in Slow Horses.00:20 Intro 06:00 The Breakdown: ResMed "Lossy"7:37 Why a puppet instead of VFX24:48 Everyone talked to the puppet32:20 On directing: decision fatigue and talent55:00 What We Watch🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #puppetry #directing
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  "It's Such a Dumb Job" — A Director on Directing | Ep 23 w/ Toby Morris 30.09.2026 50m

  Toby Morris (Cousin) is one of the most in-demand directors in the region, with a singular, playful visual style. He breaks down his Kia Seltos spot — shot with two full crews running simultaneously, a solo-built CG fly-through of Sydney's Town Hall, and a director's-cut approach of jamming the best gags out in the edit.Then the bigger story: Toby's just-finished independent feature "Cooee," a passion project a decade in the making that a cancer diagnosis finally forced into being — and a genuinely moving conversation with Liam, a survivor himself, about why it takes a wake-up call to pull the trigger on the thing you keep putting off.Plus a Gear Chat eulogy for Miller — the Sydney brand that invented the fluid-head tripod in 1946 and just closed its doors.00:21 Intro05:12 The Breakdown: Kia Seltos07:37 Shooting with two full crews at once29:34 "It's such a dumb job"31:48 Cooee: the feature, and finishing what you start45:07 Gear Chat: farewell to Miller tripods🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #directing #filmmaking
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  We Built a Whole Backyard in a Studio in 48 Hours | Ep 22 w/ Ruth Levi 23.09.2026 1h

  Art director Ruth Levi breaks down Liquorland "Score More This Summer" with Pat Cummins — four completely different worlds (a talent show, a game show, a bowls green and a backyard) crammed into a single shoot day, and the torrential-rain forecast that forced her to build an entire backyard from scratch in a studio with 48 hours' notice.It's a window into a department this show has never covered: the noughts-and-circles motif hidden in plain sight, a black-market hunt for incandescent globes under a Sydney underpass, why she refuses to send a set to landfill — and the quiet philosophy behind it all: if you notice the art department, they haven't done their job.Then What We Watch: a genuinely stunning ABC crime drama, the cinematic leap of GTA VI, and a love letter to editors.00:18 Intro05:38 The Breakdown: Liquorland "Score More"11:55 Building a backyard in a studio in 48 hours19:58 The black-market globe hunt37:57 "You shouldn't notice the art department"51:07 What We Watch🎙️ New episodes weekly.#thedirectorandthedop #artdirector #commercialfilm #productiondesign
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  He Won a Show That Drops Filmmakers in 10 Countries With No Plan | Ep 21 w/ Elliot Constable 16.09.2026 1h 16m

  Elliot Constable just won ABC's Race Around the World — the rebooted format that drops six filmmakers into ten countries and makes them research, shoot, edit and star in a film a week, completely solo. We met Elliot on a Destination NSW shoot; here he walks us through the near-impossible logistics, the stories (Moldova, Svalbard's polar bears, a Brazilian favela homage to City of God), and the all-time production disaster — a thorn bush destroying his camera two days before a rhino de-horning shoot, and the snake farm 2.5 hours away that saved him.Plus: the strange new pressure of having to be the personality, not just make the work; why the one thing he'd spend money on wasn't gear but someone to do his receipts; and the honest truth about online criticism. Then Hot Takes — including the first live one in the show's history.00:18 Our own overseas near-death stories07:50 Winning Race Around the World18:18 How the show actually works31:30 Being the personality, not just the filmmaker30:30 The broken camera and the snake farm1:01:45 Hot Takes (first-ever live one)🎙️ New episodes weekly.#thedirectorandthedop #filmmaking #racearoundtheworld #documentary
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  Our Biggest F'ups, Our Biggest Hits | Ep 20 (20th Episode Special) 09.09.2026 55m

  A special one: 20 episodes in, we've ditched the guest and the breakdown to look back at the journey so far. Liam ranks his favourite alliteration intros (and finally gives Ethan one back), we count down the five most-watched clips we've ever posted — with a couple of genuine surprises — and we get honest about our biggest on-air fups, what still makes us uncomfortable, and why we've never missed a week.Thank you to everyone who's listened, watched, shared and come up to us on set. Here's to the next 20.🎙️ Back to regular episodes next week.#thedirectorandthedop #commercialfilm #podcast #filmmaking
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  The Ad That Threw Out the Script | Ep 19 w/ Dave Jansen 02.09.2026 56m

  Dave Jansen — Chief Imagination Officer at Connecting Plots — breaks down Best & Less "So Much Better," a brand-repositioning platform for one of Australia's most iconic value-retail brands. And they made it by breaking every rule.They threw out the written scripts. They sent cameras to real families to shoot themselves. They convinced the client not to come to set. And they scored the whole thing with country & western — because a billionaire owner insisted.Then the richest state-of-the-industry conversation we've had: the "wheel of cool," influencer fatigue, the return of the mini-doc, why content deserves the same craft as a TVC, and what's really happening to director representation in 2026.Plus Gear Chat on Laowa's ultra-macro lenses, and a milestone — episode 19, nearly double the 10 we set out to make.00:23 Intro04:57 The Breakdown: Best & Less "So Much Better"12:45 Throwing out the script20:00 The country music story32:27 State of the industry 202645:41 Craft doesn't mean polished50:18 Gear Chat: Laowa ultra-macro🎙️ New episodes weekly.#thedirectorandthedop #advertising #commercialfilm #creativity
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  We Made a Rugby World Cup Epic… With Toy Cars | Ep 18 w/ Scott Otto Anderson 26.08.2026 56m

  Our first ever director guest: Scott Otto Anderson (Photoplay) breaks down the Rugby World Cup 2027 campaign for World Rugby — a Mad Max: Furiosa-style epic where a dust storm reveals itself to be hordes of rugby fans in nation-themed vehicles.The twist? It was heading for a huge VFX / virtual-production build until Scott pivoted to something far more tangible: 1:10 scale miniatures. Driveable remote-control cars, finished by traditional model makers, shot at the actual Furiosa location. He explains the gravity-scale physics that make toy cars read as real, scoring each nation's vehicle with its own audio cue, a lizard named Miss Lizzy, and the 25 solo pickup days the client never sees.Then a rare director-to-director conversation — the "20-minute expert," the editor's-mind advantage, and why you should keep post separate from production. Plus Hot Takes: coffee-order justice, the word "senior," call-sheet snobbery, and whether colourists deserve a trip to set.00:20 Intro05:36 The Breakdown: Rugby World Cup 202708:21 The pivot that won the pitch: miniatures16:25 The gravity-scale physics of toy cars29:30 Ms Lizzy39:28 On being a director46:55Hot Takes🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #vfx #miniatures
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  The Most-Watched Ad in Australia | Ep 17 w/ Catherine Terracini | 19.08.2026 53m

  It's the ad every Australian has seen a hundred times and every Australian director secretly wants to make: the Qantas in-flight safety video.EP Catherine Terracini (Elastic) breaks down what it actually takes — 136 deliverable versions across aircraft types and languages, chasing grounded A380s around the world, shooting in real cabins with the air-con off, and a resident falcon in the hangar. Oh, and the catering company's kitchen that burnt down at 9:30pm the night before the first shoot day.Then a great conversation on what an executive producer actually does — and why the most valuable word a producer has is "no" — before both hosts explain how an electrician-punk-singer and a broadcast editor ended up behind the camera.Plus maybe our most energetic What We Watch yet: a stunning South African stout ad, Will Ferrell's surprisingly cinematic golf comedy, and the Extraction oner.00:25 Intro04:30 The Breakdown: the Qantas safety video09:00 136 versions and the language matrix23:30 The kitchen burnt down29:48 What an EP actually does35:21 How we got here (origin stories)44:35 What We Watch🎙️ New episodes weekly.Qantas Safety 2026 - https://www.youtube.com/watch?v=wVjkvOYzFjYAfrican Time - https://www.youtube.com/watch?v=g9hTHc4_sqQExtraction BTS - https://www.youtube.com/watch?v=gwn0J2OVDG4The Hawk - https://www.youtube.com/watch?v=sSRJ6PXHx88#thedirectorandthedop #commercialfilm #advertising #qantas
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  I Turned a Lens Test Into a Punk Music Video | Ep 16 | Director and the DOP 12.08.2026 44m

  Liam breaks down Human Fking Wrecking Ball — the most personal thing he's ever made, and it started as a lens test.Asked to shoot a test video for Sigma's new autofocus cine lens, Liam refused to make the usual soulless lens-chart reel. Instead he drove to Wollongong, spent two days shooting UFC prospect Colby Thickness on a single lens, and — when the footage refused to become the slow mini-doc he'd planned — turned it into a 59-second punk promo, screaming the vocal track himself into a mic in the bush with his young son on headphones.It's a story about the rush of pure creativity, why three colliding deadlines are the only reason the thing exists, and what it actually takes to make something that's 100% you.Then, Life of a Freelancer: when to make passion projects, why Ethan doesn't, why short production windows beat long ones — and the genuinely hardest part of leading your own project (it's feeding people).00:24 Intro05:26 The Breakdown: Human Fking Wrecking Ball06:26 The lens test that became a promo12:33 From mini-doc to punk video17:22 Screaming it into a mic in the bush28:33 The grade34:40 Life of a Freelancer: passion projects🎙️ New episodes weekly.#thedirectorandthedop #passionproject #cinematography #filmmaking
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  How to Shoot 8 Episodes in 4 Days With 155 People | Ep 15 w/ Matt Taylor 05.08.2026 53m

  Matt Taylor — founder of Milkmoney, now an agency EP in branded entertainment — breaks down Rivals, a TV series funded and driven by Rexona that pitted Australia's top athletes across codes against each other on Hamilton Island.Matt takes us inside brand-created entertainment: how you balance the "value exchange" so it's neither eight half-hour TVCs nor an ROI-free show, why flying athletes to an island beat any stadium, and how you shoot eight episodes in a four-day window with 155 people and six camera units.Then the personal stuff: running an independent production company ("it's like riding a lion"), selling Milkmoney, and becoming a grip assistant at 50 during his non-compete. Plus Matt turns the tables with a great question — where's the opportunity in all this industry chaos? — and Gear Chat on the Cadrage / Sun Seeker update.00:20 The loud shirt05:32 The Breakdown: Rivals12:03 The value exchange26:32 The athletes and the 4-day window32:42 Why Australian TV is all FX638:12 Running a company: "riding a lion"39:50 Selling up and becoming a grip at 5046:58 Gear Chat🎙️ New episodes weekly.#thedirectorandthedop #brandedentertainment #advertising #commercialfilm
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  Everything That Could Go Wrong On a Shoot… Did | Ep 14 w/ Kat Alvarez-Jarratt 29.07.2026 1h 1m

  ECD Katrina Alvarez-Jarratt (Le Truc, part of Publicis) joins us to break down the strangest, most complicated shoot of her career: Heinz "The Pickle." The idea — put a man in a giant pickle costume and send him into La Tomatina, Spain's tomato-throwing festival. The budget — tiny. The plan — barely held together.Kat takes us through a bribed balcony, a GoPro stolen within five minutes, her accidentally filming her own tomato-covered face, and a three-hour turnaround to get it onto breakfast TV. It's a masterclass in earned media, adaptability, and why the idea is the only boss.Then: how Kat picks directors, why real-people work is back as a pushback against AI, and why AI previs is killing creativity on set. Plus Hot Takes — the word "industry," paid treatments, and the spiciest take we've ever read out.00:20 Intro05:54 The Breakdown: Heinz "The Pickle"15:10 Everything that went wrong23:50 How earned media actually works31:10 How an ECD picks directors46:20 AI previs vs creativity50:10 Hot Takes🎙️ New episodes weekly.#thedirectorandthedop #advertising #commercialfilm #creativedirector
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  Why I'm Quitting Focus Pulling After 13 Years | Ep 13 w/ Louis Lau | Director & the D.O.P. 22.07.2026 1h 4m

  1st AC and focus puller Louis Lau joins us to break down a two-minute single-take beach safety PSA for Surf Life Saving Australia — Angus Sampson delivering an unbroken monologue while a dozen actors, a Polaris buggy and a Westpac helicopter choreograph around him. The brief called for Australian summer sun. They got rain, and shot it anyway.Louis explains what a focus puller actually does (it's not what you think), why the week of prep is harder than the shoot day, and how to win an argument with a producer over a $200 line item.Then the real conversation: after thirteen years, Louis is stepping away from camera assisting to become a DP. The golden handcuffs. The humble pie. And why, as he puts it, nobody cares that you were a great focus puller.Plus What We Watch — Air New Zealand, VW's Forever Golf, and an unresolved argument about Spider-Noir.00:00 Cold open00:27 Intro05:29 The Breakdown: the 2-minute one-take13:15 Steadicam vs gimbal14:40 What a focus puller actually does24:08 Arguing with production over $20033:25 Leaving a 13-year career behind52:30 What We Watch🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #cinematography #focuspuller
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  Liam Hates My Colour Grade (And Said It To My Face) | Ep 12 | The Director & the D.O.P 15.07.2026 54m

  Tokyo. London. Mexico City. New York. All of it shot in Sydney, in two days.Ethan breaks down Lenovo "Play-by-Play" — a global FIFA World Cup campaign for Shutterstock Studios — and Liam asks the questions he'd have asked if he'd been on it. Why Sydney beat LA and Melbourne. What got cut when grip ran out of room. The one shot worth protecting. Why the client asked for it to feel like a documentary. And why Liam thinks the grade needed more colour.Then we launch a brand new segment: HOT TAKES. You sent them in, we have to take a side. Bidding against an agency's in-house team. Stills vs motion. Residuals for the creative team. And whether a bland pho is even pho.00:00 Cold open00:21 Intro06:12 The Breakdown: Lenovo "Play-by-Play"09:40 Why shoot a global campaign in Sydney?12:32 The grip compromise18:35 Liam doesn't love the grade28:25 The $100k question36:48 🌶️ HOT TAKES — new segmentSend us your hot takes on Instagram — the spiciest ones make the show.🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #advertising #filmproduction
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  Practical Effects Chaos (You Need a SUPPORT Horse?) | Ep 11 w/ Henry Richardson 08.07.2026 44m

  Freelance producer Henry Richardson joins Ethan and Liam to break down U Bank — a maximalist, three-spot campaign directed by Jesse James McElroy built almost entirely on practical effects: a horse walking through a beach set inside an "office," a man bursting out of a flooded kitchen sink, toast flying on a roof. Henry explains why the shoot pivoted from location to a full studio build, what a "support horse" actually is, and the sink malfunction that flooded a set mid-take. Then, Life of a Freelancer: invoicing timing, Net 90 payment terms, and the worst you've ever waited to get paid.00:00 Cold open00:18 Intro02:55 Meet Henry Richardson04:33 Breaking down U Bank11:45 The horse problem12:36 The sink blowout18:32 Should producers be client facing? 26:00 The $100k question36:49 Life of a Freelancer: invoicing & Net 90🎙️ Follow The Director and the DOP for new episodes every week.#thedirectorandthedop #commercialfilm #advertising #filmproduction
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  The Pitch Process Is Broken | ft. Erin McBean, Infinity Squared | EP 09 The Director and The D.O.P 17.06.2026 49m

  Erin McBean is Executive Producer at Infinity Squared. In this episode she breaks down Mountain Dew's "Do the Dew" campaign — a green screen shoot built almost entirely on AI-generated backgrounds, until the client's legal team said no three days before they rolled.We get into how the production pivoted, why a smaller budget sometimes gives social content exactly what it needs, and what happens when you push back on an agency's creative approach before a single frame is shot.Erin also on the pitch process — competitive pitches on shrinking budgets, jobs that get cancelled after three production companies have put in weeks of work, and why that needs to change.Plus where production is actually heading in 2026. Erin's been at Infinity Squared for five years and has watched the industry shift faster than it ever has. In What We're Watching: a punk band trashes a Denny's and it becomes the best brand ad of the year. And an AI campaign that convinced the entire internet — including Ethan — that Nike had just made the greatest sports ad of all time.TIMESTAMPS00:00 Cold open00:22 Intro — episode 9, running out of outfits03:05 Meet Erin McBean, EP at Infinity Squared04:10 Mountain Dew "Do the Dew" — why this project05:00 Car park budget, not Sydney Park07:38 AI backgrounds — building the whole concept09:18 Client says no to AI — three days out13:00 The casting — Caleb gets painted green14:15"Bite off more than you can chew and chew like crazy"23:21 The pitch process is broken25:06 The rejection/dating parallel27:05 Where is production going in 2026?31:08 What do you wish people knew about the EP role?38:17 What We're Watching — Denny's punk band ad40:54 The AI Nike campaign that fooled everyone45:31 Wrap-up📷 Instagram: @directorandthedop#commercialfilm #filmmaking #advertising #executiveproducer #director #cinematographer #podcast #thedirectorandthedop #behindthescenes
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  What Clients Actually Mean | ft. Marcus Friedlander, Colourist | EP 08 The Director and the D.O.P 10.06.2026 49m

  Marcus Friedlander is a colourist working across commercial production in Sydney. In this episode he breaks down the grade on Nike "Run Your Run" — shot in one day in Southeast Asia, multiple cameras, and a director who walked into the grade and asked him to push the look further.We get into what density actually means, how to unify footage from different cameras in a single working colour space, and what happens when a client asks you to make something more poppy and you've already hit the legal limit of the farm.We also talk about the colourist being involved earlier, why the DP needs to be in the grade, and the new piece of client feedback nobody quite knows how to decode yet — "we don't want it to feel AI."Plus — our very first listener question. Yun from Sydney asks how to work with a colourist for the first time.In Gear Chat: Cooke AP3 Anamorphics. 1.5x squeeze, user-interchangeable mounts, tiny, and about to be everywhere.00:00 Opener00:26 Intro — e-bikes, cyclists, North Sydney Bears02:48 The Breakdown with Marcus Friedlander, Colourist03:43 Nike "Run Your Run" — why this project06:09 Look development — seeing it with fresh eyes07:31 Technical challenges — one day, multiple cameras, harsh light14:21 Working colour space — unifying different cameras15:33 The gatewave — making digital feel like film20:20 "We don't want it to feel AI"21:33 Make it pop" — decoding client language24:58 Director's cut workflow — backing up before client notes27:32 What colourists wish production understood28:40 The DP needs to be in the grade33:05 Marcus's question for Ethan37:50 First ever listener question — Yun from Sydney42:37 Gear Chat — Cooke AP3 Anamorphics47:44 Wrap-up
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  We Had Our First Fight plus guest Casting Director Steph Pringle | EP 07 The Director & The D.O.P 03.06.2026 40m

  Steph Pringle is co-founder of Chicken and Chips Casting. In this episode she breaks down the NRL "This is How We League" campaign — a hybrid process mixing trained actors with community and street casting, built around one of the most articulate diversity briefs she's seen in her career.We get into what casting directors are actually doing on a project, why the callback process is disappearing and what directors lose when it does, and how emerging directors should be thinking about building those relationships.In Life of a Freelancer: how Ethan and Liam crew up — and their first real disagreement about crew loyalty.TIMESTAMPS00:00 Cold open — first fight teased00:23 Intro — episode 702:29 Meet Steph Pringle, Chicken and Chips Casting05:20 The NRL "This is How We League" — why this project08:46 The bilingual brief — specific without box-ticking09:45 Street casting vs agent-driven process11:32 Finding Dang — the gut feeling moment12:21 Car acting and eyeline technique20:43 The callback process — what directors are losing26:35 What casting directors wish production understood28:05 How emerging directors should approach casting directors29:55 Loyalty — building a reel then moving on34:13 Life of a Freelancer — crewing up37:30 The first fight38:25 Wrap-upFIND US🎙️ Spotify: https://open.spotify.com/show/4aYJx1Y3tfx8nXvSMnzOfp?si=9d077fcf64074702📺 YouTube: https://www.youtube.com/@TheDirectorandTheD.O.P📷 Instagram: @directorandthedopFollow Steph @anditsstephaniepringle + Chicken and Chips Casting @chickenandchips_#commercialfilm #filmmaking #advertising #casting #director #cinematographer #DOP #podcast #thedirectorandthedop #behindthescenes
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  What an ECD Is Actually Looking For | ft. Russ Tucker, Omnicom | EP 06 The Director & the DOP 27.05.2026 42m

  Russ Tucker is ECD at Omnicom. Ten years ago he wrangled an uncommissioned Intel short film, a real robot from Swinburne University, and the Sydney Opera House — with no agreed budget and a TEDx premiere date closing in fast.In this episode Russ breaks down Being a Robot Usher. We cover live-coding a robot on set, engineering interviews so the Opera House staff unknowingly described the robot as their colleague, and why the best shot of the whole shoot was the one nobody planned.We also get into treatments — what ECDs are actually looking for, where confidence tips into cockiness, and who really wins the argument over which director gets selected.In What We're Watching: Expedia "Nothing" (dir. Lope Serrano, DOP Tim Lorentzen, production CANADA), Nike "Run Forever" (dir. Rodrigo Inada), and two Netflix documentaries redefining found footage storytelling — Perfect Neighbor and The Truth and Tragedy of Moriah Wilson.TIMESTAMPS00:00 Cold open00:23 Intro — episode 6, 50k views across social04:51 Meet Russ Tucker, ECD at Omnicom05:46 Being a Robot Usher — how it started07:41 Hustling the Sydney Opera House10:30 Jordan the robot-deer — live coding on set14:14 The glass door moment15:46 Engineering the interviews — they had no idea19:59 Treatments — confidence vs cockiness22:43 How much does the DOP actually matter in a treatment?23:55 Who wins the director selection argument?24:45 What ECDs are actually thinking at the monitor27:20 Where do you find references nobody else is using?29:38 What We're Watching — Expedia "Nothing"33:22 Nike "Run Forever"35:00 Perfect Neighbor + The Truth and Tragedy of Moriah Wilson39:30 A confession — the camera we forgot to roll
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  The Super Bowl Ad That Almost Didn't Happen | Ep 05 — The Director & The DOP 20.05.2026 33m

  n Episode 5, Ethan and Liam break down ESPN Have a Sick Day — an Australian Super Bowl promo for Now We Collide agency with Mint Films, produced by Henry Richardson.They get into why Ethan wrote a treatment for a job that didn't ask for one, how they found lead actor Jack William Newell through a casting tape that made the decision instantly, shooting a loose unscripted performance style with a rigid sun-driven schedule in an open street, and what it felt like when Liam lost it laughing trying to hold the Ronin steady on Jack's very first take.Then the story nobody knew was coming — a shoot postponed the day before because of the Bondi Beach shootings. How that call was made, who made it, and what it cost everyone to show up a few days later and find the energy to make something joyful.In Gear Chat — Iron Glass, a Ukrainian company doing some of the most interesting vintage lens rehousing work in the world while their country is at war. Why vintage lenses are having a moment, and what the new Air Series mirrorless mount rehousings mean for smaller camera packages.0:25 Intro — MacGyver mic stand, 25K social views, guest updates3:37 The Breakdown — ESPN Have a Sick Day5:53 Writing a treatment when nobody asked11:40 Finding Jack — the casting tape that ended the process13:56 Liam loses it on the Ronin — first shot of the day16:00 The trumpet girls scene18:38 Shooting in a city — 3, 4, 5 suns32:51 OutroThe Director & The DOP is a video podcast for the commercial production and advertising industry. A director and a DOP break down real projects — no theory, just the work.New episodes weekly.🎙️ Hosted by Ethan McLean (Director) & Liam Brennan (DOP)#commercialfilmmaking #director #cinematography #advertising #filmmaking #australianfilm