Old Henry director Potsy Ponciroli and cinematographer John Matysiak

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Old Henry director Potsy Ponciroli and cinematographer John Matysiak

Director and writer Potsy Ponciroli and cinematographer John Matysiak set out to capture the feel of a classic western with Old Henry, an action western starring Tim Blake Nelson. When Potsy showed him the Old Henry script, John liked the ideas he had for keeping the film small and plot driven until it builds to the finale.

Director and writer Potsy Ponciroli and cinematographer John Matysiak set out to capture the feel of a classic western with Old Henry, an action western starring Tim Blake Nelson. When Potsy showed him the Old Henry script, John liked the ideas he had for keeping the film small and plot driven until it builds to the finale.

Director and writer Potsy Ponciroli and cinematographer John Matysiak set out to capture the feel of a classic western with Old Henry, an action western starring Tim Blake Nelson. When Potsy showed him the Old Henry script, John liked the ideas he had for keeping the film small and plot driven until it builds to the finale.

00:00 / 00:00
Cinematographer Maz Makhani on the Netflix film The Guilty, directed by Antoine Fuqua

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Cinematographer Maz Makhani on the Netflix film The Guilty, directed by Antoine Fuqua

The Netflix film The Guilty was shot in just 11 days with a very small cast and crew on a controlled soundstage. Cinematographer Maz Makhani and director Antoine Fuqua both favor a high-contrast lighting style that helped the dark subject matter, making the film feel real and raw.

The Netflix film The Guilty was shot in just 11 days with a very small cast and crew on a controlled soundstage. Cinematographer Maz Makhani and director Antoine Fuqua both favor a high-contrast lighting style that helped the dark subject matter, making the film feel real and raw.

The Netflix film The Guilty was shot in just 11 days with a very small cast and crew on a controlled soundstage. Cinematographer Maz Makhani and director Antoine Fuqua both favor a high-contrast lighting style that helped the dark subject matter, making the film feel real and raw.

00:00 / 00:00
Special Episode: Project management tools for content collaboration with Nate Watkin, CEO of Assemble

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Special Episode: Project management tools for content collaboration with Nate Watkin, CEO of Assemble

CEO of Assemble Nate Watkin walks us through the new software. Assemble is a complete project management platform for video production teams, from pre-production all the way through post-production.

CEO of Assemble Nate Watkin walks us through the new software. Assemble is a complete project management platform for video production teams, from pre-production all the way through post-production.

CEO of Assemble Nate Watkin walks us through the new software. Assemble is a complete project management platform for video production teams, from pre-production all the way through post-production.

00:00 / 00:00
previous arrow
next arrow

Old Henry director Potsy Ponciroli and cinematographer John Matysiak

Cinematographer Maz Makhani on the Netflix film The Guilty, directed by Antoine Fuqua

Special Episode: Project management tools for content collaboration with Nate Watkin, CEO of Assemble

DP Panel Discussion: Ana Amortegui, Byron Kopman, Bryant Fisher and Julia Swain discuss their creative processes, challenges and careers

Cinematographer John Guleserian on Candyman, working with director Nia DaCosta, Like Crazy, About Time, An American Pickle

Director Wyatt Rockefeller and cinematographer Willie Nel, SASC on the indie science fiction movie Settlers

Emmy-nominated cinematographer Donald A. Morgan, ASC on The Upshaws, The Conners, Last Man Standing, shooting multi-camera television shows

Director Ferdinando Cito Filomarino and DP Sayombhu Mukdeeprom discuss the Netflix film, Beckett and their close collaboration

Emmy-nominated Mark Doering-Powell, ASC on grown-ish, challenges of single camera comedies, lighting setup tips, the early days of HD video

Checco Varese, ASC on THEM and working in the horror genre

Special Episode: A tribute to DP Dan Kneece- on Quentin Tarantino, David Lynch, Scream, and the early days of Steadicam

Cinematographer Flavio Labiano on Jungle Cruise, Timecrimes, Day of the Beast, and more
Load More

Support the Show

Enjoy listening to our podcast? Consider making a purchase at Hot Rod Cameras!

 Shop at Hot Rod Cameras