The Cinematography Podcast Episode 255: Richard Rutkowski

Masters of the Air on AppleTV+ is about the pilots who served in the 100th Bomb Group in the U.S. Air Force during World War II. Cinematographer Richard Rutkowski shot episodes 107 and 108, which included both aerial flying, bombing and imprisoned airmen at a German POW camp. From the beginning, Richard was impressed with how everything was organized on such a massive scale. The props, set design and costumes were extremely exact to the time period. “I really am attracted to stories that have authenticity in them,” says Richard. “And they put the authentic on camera. It is all exactly what it’s meant to be, what it was at the time, as close as they can get.”

Richard worked with director Dee Rees on their block of Masters of the Air. The prison camp scenes involved working with searchlights, mud and absolute darkness at night, with up to 250 people in a scene. He chose to light in a way that would emphasize the dim lighting, gray atmosphere and unhealthy look for the POWs. Some of the Tuskegee Airmen, the legendary African-American fighter pilots, are also brought to the POW camp and the prisoners are integrated into the previously racially-segregated fighting force.

Shooting the action inside the planes involved large-scale LED volume screens surrounding the aircraft sections, with an LED roof overhead, which created most of the lighting for the scene. The actors were placed on a gimbal controlled articulated steel deck so they could react to the motion. The cameras tracked with the video system, and had GPS locators that allowed the background to respond to where the camera was so that it knew how much background to put in.

Richard was the sole cinematographer on the FX series The Americans for several seasons. The Americans was about a Russian spy couple posing as Americans in suburban Washington D.C. during the Cold War in the 1980’s. Richard established the look of the show, with the couple’s “normal” DC life leaning into bolder primary colors, in a kind of red, white, and blue cleanliness. By contrast, in their double life as spies, Richard chose a grittier, darker and grainy look. On The Americans, Richard says he learned the value of letting the actors do their work. “(There is) an unspoken connection being made about whether a scene is moving well, whether a take is truly finished. I would learn to stop reaching for that cut button. No matter who said what, if the actor was in it, we don’t cut. You leave the boom up, keep out of the frame. If the actor’s in it, we’re not cutting. We’ll go till they’re ready.”

As a kid, Richard’s father was a fine art painter and he grew up all over the country. He began making 16mm films in college and working with theatrical director Robert Wilson. After college, Richard started working on small budget films, working his way up through the camera department, including being a second assistant camera on School Ties with cinematographer Freddie Francis, a two time Oscar winner. After School Ties, Richard wrote Ed Lachman asking to work with him, and he went on to work with Ed on several movies. He feels that working your way up and learning all the different crafts in the camera department is a great education for a DP.

Masters of the Air is available on AppleTV+.

Find Richard Rutkowski: Instagram @richardrutkowskidp

Close Focus: The power struggle inside Disney for control of the company.

50 people around the world got together and used AI to make a parody remake of Terminator 2: Judgement Day.

A discussion of multi-nodal AI and how far it still needs to come.

Ben’s short end: Corridor Digital on YouTube points out that recent movies such as Barbie and Mission Impossible 7 want to say everything is being done with practical effects, even going so far as to paint out blue screens in the behind the scenes videos.

Illya’s short end: Illya was on a podcast called Creative Income with Lars Lindstrom.

Sponsored by Hot Rod Cameras

Sponsored by Aputure: The Aputure Spotlight Max is a Bowens mount projection lens for high-output LEDs. With the Spotlight Max, you can achieve optically precise, high-output projections with minimal distortion. Available at Hot Rod Cameras.

Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with social media marketing, strategy and planning, podcast production, and digital content creation.

LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts!

Email: editor@camnoir.com

Facebook:@cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

YouTube

Podcast Credits:

Producer: Alana Kode

All web and social media content written by Alana Kode

Host and editor in Chief:  Illya Friedman

Instagram: @illyafriedman @hotrodcameras

Host: Ben Rock

Twitter: @neptunesalad

Instagram: @bejamin_rock

Editor: Ben Katz

Composer: Kays Al-Atrakchi

Subscribe to the Podcast on Apple Podcasts or click on the link below to listen here

Subscribe to Podcast

Leave a Reply

Your email address will not be published. Required fields are marked

This site uses Akismet to reduce spam. Learn how your comment data is processed.

{"email":"Email address invalid","url":"Website address invalid","required":"Required field missing"}

SEARCH


RECENT POSTS


RECENT comments


Jari Kovalainen on  Our Contributors

PRESENTED BY


Support the Show

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