Podcast Episodes - Cam Noir

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 The post Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear first appeared on Cam Noir.

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 The post Lyle Vincent on lighting the darkness of The Beast in Me first appeared on Cam Noir.

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 The post Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look first appeared on Cam Noir.

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 The post Suburban street photography and voyeurism in DTF St. Louis first appeared on Cam Noir.

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 The post Smoke, spotlights, Silicon Valley secrets in The Audacity first appeared on Cam Noir.