PODCAST · tv
The Cinematography Podcast
by The Cinematography Podcast
Art, Business, Craft and Philosophy of the Moving Image
Episodes
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Inside the IMAX Camera Department with Scott "Smitty" Smith
Scott "Smitty" Smith, the IMAX camera technician behind Oppenheimer, Sinners and The Odyssey, on large format film, servicing cameras and why film costs less than you'd think. This episode is packed with technical detail for anyone who wants to understand the mechanics of shooting IMAX, from...
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DP Doug Emmett on shooting the crime drama Furious
Furious DP Doug Emmett breaks down how the production team aligned on tone, lighting a penthouse with floor-to-ceiling windows, and creating a red-lit party scene. Podcast highlights include: -How the Furious team rehearsed their look-book pitches over Zoom before presenting to the studio. Every...
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Never After Dark: filming a ghost story in Japan using camera magic
Director Dave Boyle and DP Patrick Ouziel on making the ghost story Never After Dark in Japan: a 28-day shoot, a backlit zoetrope mirror, and in-camera magic. Podcast highlights: -How Boyle, fresh off the Netflix hit House of Ninjas, made the film in Japan. Cast and crew were locked in before the...
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Wesley Wang on building a studio for the internet generation
Director Wesley Wang on building Wesley Wang Media, an indie studio incubator for online creators, launching a $100K open contest, and staying a filmmaker himself. Podcast highlights include: -How Wesley Wang Media flips the traditional development model. Rather than years of notes and pitch...
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Special Episode: Remembering Rodney Charters, ASC, CSC, NZSC
Remembering cinematographer Rodney Charters, ASC, dp of 24, Sleepwalkers, and much more in this classic Cinepod conversation on craft, career, and lighting.
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DP Brett Pawlak’s vision for Spider-Man: Brand New Day
DP Brett Pawlak on grounding Spider-Man: Brand New Day in natural light, practical suit design, and 17 years collaborating with Destin Cretton. Podcast highlights include: -How Pawlak and Cretton’s input about the suit design kept Peter Parker feeling human. The mask allowed Tom Holland's jaw to...
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Building a nearly silent crime drama in Motor City
Cinematographer John Matysiak on shooting Motor City's nearly dialogue-free story, real in-camera stunts, and building its 1970s Detroit look from film tests. Podcast highlights include: -Why Motor City tells its story with almost no dialogue, and how that shaped everything from frame rate to...
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Bringing indie instincts to Voicemails for Isabelle
DP Julia Swain on faking the Golden Gate Bridge, rigging a real tour bus, and bringing indie instincts to Netflix's Voicemails for Isabelle Podcast highlights include: -How Julia shot the film's pivotal Golden Gate Bridge overlook scenes without using a stage. The team scouted the real Marin...
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Michael Bauman on building horror for Monster: The Ed Gein Story
DP Michael Bauman, ASC on shooting Monster: The Ed Gein Story, building a visual language with period lenses, and lighting with just reflectors and flashlights. Podcast highlights include: -How Michael built a distinct visual language for each era with lensing shifting from period to period.…
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Shooting mud, fog and firelight in A Knight of the Seven Kingdoms
DOP Gustav Danielsson, FSF on shooting HBO's A Knight of the Seven Kingdoms with naturalistic firelight, practical battlefield fog, and in-camera POV shots Podcast highlights include: -How Gustav and director Owen Harris planned the show's night time, fire-light-driven look. -Beginning their…
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Matt Ball on shooting in remote regions for Tucci in Italy
DP Matt Ball on shooting Tucci in Italy Season 2, the challenges of journeying to remote regions over tourist spots, and capturing emotional moments on camera. Podcast highlights include: -How the show featured lesser-traveled regions like Sardinia, Le Marche, and rural Abruzzo to capture…
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Eben Bolter, ASC, BSC reimagines a noir classic in Cape Fear
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…
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Lyle Vincent on lighting the darkness of The Beast in Me
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...
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Christian Sprenger on building the horror-comedy Widow’s Bay
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...
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Peter Konczal, ASC on Black Rabbit’s raw, low-contrast look
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...
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Suburban street photography and voyeurism in DTF St. Louis
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...
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Smoke, spotlights, Silicon Valley secrets in The Audacity
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…
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Bonus Episode: Peter Deming, ASC
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:...
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Shooting in the dark: the making of Spider Noir
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...
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James Laxton, ASC Frames Class and Generation Gaps in Beef 2
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…
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Evoking dread in Something Very Bad is Going to Happen
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…
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Lawrence Sher ASC: filming Apex in the Australian wilderness
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...
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Tari Segal, ASC: visual magic in Margo’s Got Money Troubles
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...
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DP Greta Zozula on the look of The Testaments
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...
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The scrappy, indie production of Hunting Matthew Nichols
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…
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Two horror films, one DP: They Will Kill You, Faces of Death
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...
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Ted Hope, Hope For Film: the rebirth of independent cinema
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…
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Two DPs, one vision: creating the look of Pluribus
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...
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Lawrence Sher, ASC reimagines Frankenstein for The Bride!
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...
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2026 Academy Awards nominations with Jenelle Riley
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…
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James Whitaker: Good Luck Have Fun Don’t Die’s visual chaos
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…
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Danny Cohen, BSC: Slow Horses ‘dirty London’ cinematography
The Cinematography Podcast Episode 348: Danny Cohen, BSC DP Danny Cohen, BSC, reveals how he crafted the "dirty London" look of Slow Horses through motivated lighting, high ASA grain, and the grit of Slough House. Key Podcast Highlights: -How Slow Horses ditches the typical block shooting system,...
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Into the Dark Ages: the gothic vision of The Dreadful
The Cinematography Podcast Episode 347: director Natasha Kermani and DP Julia Swain In the medieval horror film The Dreadful, director Natasha Kermani and cinematographer Julia Swain transport audiences to the brutal landscapes of the Dark Ages. The independent film shot in Cornwall, England over...
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Special Episode: Frederick Wiseman, acclaimed filmmaker
The Cinematography Podcast Special: Frederick Wiseman With the passing of documentarian Frederick Wiseman, here is a re-release of our 2020 interview. He discusses City Hall, Titticut Follies, High School and more. Wiseman was a prolific filmmaker, making 45 films over 50 years. Wiseman's family...
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Adolpho Veloso: capturing memory, naturalism in Train Dreams
The Cinematography Podcast Episode 346: Adolpho Veloso, ABC, AIP The film Train Dreams tells a story that feels less like a narrative and more like a memory. It began as an independent project that premiered at Sundance to critical acclaim before getting acquired by Netflix. Director Clint…
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Sean Bobbitt on 28 Years Later: The Bone Temple’s madness
The Cinematography Podcast Episode 345: Sean Bobbitt In the landscape of post-apocalyptic cinema, few franchises carry as much visual baggage as the 28 Days Later franchise. Known for pioneering the "fast zombie" and the gritty, digital lo-fi aesthetic of the early 2000s, the series has always...
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Russell Carpenter, ASC: Lighting the world of Fire and Ash
The Cinematography Podcast Episode 344: Russell Carpenter When cinematographer Russell Carpenter began working on Avatar: The Way of Water and Avatar: Fire and Ash concurrently, he knew stepping into the world of Pandora would be a much different production environment. Carpenter and director Jim...
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DP Michael Bauman on One Battle After Another’s improv style
The Cinematography Podcast Episode 342: Michael Bauman Cinematographer Michael Bauman recently earned an Academy Award nomination for Best Cinematography for his work on One Battle After Another. Before becoming a cinematographer, Bauman spent years as a gaffer, working under legends like Robert...
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Amy Vincent, ASC on the visual heart of Song Sung Blue
The Cinematography Podcast Episode 342: Amy Vincent, ASC Cinematographer Amy Vincent, ASC feels like she's reached the place where she wants to be, working on the kinds of films she likes. Vincent and director Craig Brewer have collaborated on several music-forward films, including Hustle & Flow,...
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Caleb Heymann: the cinematic playground of Stranger Things
The Cinematography Podcast Episode 341: Caleb Heymann Cinematographer Caleb Heymann has been a key architect of the Stranger Things aesthetic since the tail end of Season 3. After starting as a second unit DP, Heymann was promoted to lead cinematographer for the blockbuster Season 4, and now its...
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Steve Yedlin’s gothic look for Knives Out: Wake Up Dead Man
The Cinematography Podcast Episode 340: Steve Yedlin, ASC Cinematographer Steve Yedlin, ASC, and director Rian Johnson have shared a creative shorthand for over thirty years. Their collaboration is so deep that it rarely requires extensive dialogue. “Rian will mention things he wants to do...
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BONUS EPISODE: Sinners DP Autumn Durald Arkapaw, ASC
The Cinematography Podcast Episode 339: Autumn Durald Arkapaw, ASC Cinematographer Autumn Durald Arkapaw, ASC was first introduced to director Ryan Coogler through fellow DPs Bradford Young and Rachel Morrison. After their successful collaboration on Black Panther: Wakanda Forever, Coogler sent…
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Bryan Fuller and Nicole Whitaker: Dust Bunny’s nightmare whimsy
The Cinematography Podcast Episode 338: Bryan Fuller and Nicole Hirsch Whitaker Bryan Fuller has one of the most recognizable visual signatures in modern television. Whether he’s dealing with a forensic pathologist who bakes pies (Pushing Daisies) or a sophisticated cannibal (Hannibal), his work...
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Eric Lin and Lyle Vincent tell a tragic story in Rosemead
The Cinematography Podcast Episode 337: Eric Lin and Lyle Vincent Rosemead tells the tragic, true story of Irene (Lucy Liu), a terminally ill single mother, and her son, Joe (Lawrence Shou). As Joe battles schizophrenia and urges toward violence, Irene is left isolated from her Chinese American...
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Alice Brooks, ASC returns to Oz in Wicked: For Good
The Cinematography Podcast Episode 336: Alice Brooks, ASC For cinematographer Alice Brooks, ASC, shooting both Wicked and Wicked: For Good concurrently was a huge feat. The giant sets, precise camerawork and complex, live lighting cues for the musical numbers required detailed planning and prep....
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DP Jess Hall’s retro look on The Fantastic Four: First Steps
The Cinematography Podcast Episode 335: Jess Hall Cinematographer Jess Hall, ASC, BSC reunited with director Matt Shakman to bring the retro-future world of The Fantastic Four: First Steps to life. The two had collaborated on several projects together, such as Marvel's Wandavision. “I have a lot…
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Jeff Cutter: melding the alien worlds of Predator: Badlands
The Cinematography Podcast Episode 334: Jeff Cutter Cinematographer Jeff Cutter first collaborated with director Dan Trachtenberg on 10 Cloverfield Lane. Their successful partnership continued on the Predator prequel, Prey, which became Hulu's most-watched streaming premiere. Jeff and…
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Jeff Cronenweth, ASC: stepping out of the grid on TRON: ARES
The Cinematography Podcast Episode 333: Jeff Cronenweth Two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC is known for visually defining modern classics like Fight Club and The Social Network. With TRON: ARES, he melded three distinct realities: the digital Grid, the gritty real…
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Cinematographer Dan Laustsen brings Frankenstein to life
The Cinematography Podcast Episode 332: Dan Laustsen For nearly 30 years, cinematographer Dan Laustsen, ASC, DFF and director Guillermo del Toro have produced one of cinema's most visually distinctive collaborations. Sharing a deep affinity for rich colors and dark themes, their partnership has...
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Tobias Datum: creating the sci-fi world of Murderbot
The Cinematography Podcast Episode 331: Tobias Datum Murderbot is the story of a security unit, part-human and part-machine, that has hacked its governing module to act in its own free will: mainly to be left alone to watch TV shows. Cinematographer Tobias Datum views the Apple TV+ series as a...
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ABOUT THIS SHOW
Art, Business, Craft and Philosophy of the Moving Image
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The Cinematography Podcast
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How many episodes does The Cinematography Podcast have?
The Cinematography Podcast currently has 446 episodes available on PodParley. New episodes are automatically indexed when they're published to the podcast feed.
What is The Cinematography Podcast about?
Art, Business, Craft and Philosophy of the Moving Image
How often does The Cinematography Podcast release new episodes?
The Cinematography Podcast publishes regularly with 446 episodes available. Check the episode list for the typical release schedule.
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The Cinematography Podcast is created and hosted by The Cinematography Podcast.
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