March 29, 2022

Cinematography Podcast, Latest Posts, Podcast Episodes

In our second panel series, Ben and Illya speak to cinematographers Fernando Argüelles, ASC, AEC (Fear the Walking Dead, Swamp Thing, Hemlock Grove), Tom Magill (Atypical, Saved by the Bell, Parks and Recreation) and Gregory Middleton, ASC, CSC (Moon Knight, Watchmen, Slither) as they discuss their current work, career journeys, creative processes, challenges and career goals.

Be sure to check out the video panel on YouTube! Produced in partnership with Impact24 Public Relations.

Find our guests:

Fernando Argüelles: https://www.fernandoarguelles.net/
Instagram: @fernandoarguellesasc
Twitter: @fernanradikal

Tom Magill: https://www.imdb.com/name/nm1083844/

Greg Middleton: http://www.middletondp.com/
Instagram: @middlecam
Twitter: @middlecam

Impact24 PR https://www.impact24pr.com/
Instagram: @impact24pr
Twitter: @impact24pr
Facebook: @impact24pr

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/panel2/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

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March 23, 2022

Cinematography Podcast, Latest Posts, Podcast Episodes

Long-time friend and colleague Jenelle Riley of Variety magazine chats with Ben and Illya for our third annual Oscar nominations special. They discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized.

Here’s a rundown of some of the nominations discussed in this episode, as well as great films that were not nominated this awards season. Listen to our interviews with some of the nominated DPs and other noteable films of the year!

Annette
The Sparks Brothers
The Power of the Dog, Ari Wegner
Jane Campion
Zola
Dune, Greig Fraser
Denis Villeneuve
Nightmare Alley, Dan Laustsen
The Tragedy of Macbeth, Bruno Delbonnel
Westside Story, Janusz Kominski
Steven Spielberg
King Richard, Robert Elswit
Cyrano, Seamus McGarvey
Licorice Pizza, Paul Thomas Anderson
Belfast, Haris Zambarloukos

Find Jenelle Riley on Instagram and Twitter: @jenelleriley and Variety: https://variety.com/

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/oscars2022/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

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March 16, 2022

Cinematography Podcast, Latest Posts, Podcast Episodes

The horror film Master explores the idea of institutional and historic racism at an elite, mostly white college campus, as two Black women are stalked by evil spirits. Director and screenwriter Mariama Diallo is a lifelong horror fan, and sees the horror genre as an expression of anxiety. She feels that horror frees you to talk about ideas that are disturbing and unsettling at their core.

Master incorporates some of Mariama’s personal experiences as an undergrad at Yale, where the advisors/mentors were called Master. As an African American, Mariama later found it bizarre and perverse to have referred to someone in this way. She knew she wanted to make a film called Master, and examine the scary realities of what that word means. Once she began to write, Mariama found that accessing her memories of being a Black woman at an elite university felt painful and horrifying, so she knew this was where the script needed to go. She started imagining how to picture the school- orderly, controlled, static and a looming presence. When the malevolent spirit appears, it is a jarring, violent rupture to the polite presentation of the school.

Mariama and cinematographer Charlotte Hornsby worked together on her short film Hair Wolf, and they knew they shared the same ideas and influences. As they got into preproduction on Master, they watched movies, had long discussions about the look of the film, and shotlisted the film together. Prior to becoming a DP, Charlotte was an art director, so she has a deep understanding of using color in her work. Charlotte was definitely influenced by the color palette in Suspira and chose to use shades of red and experimented with using shadows for a haunted feel. Charlotte also liked the use of zoom lenses in movies such as Rosemary’s Baby, and used a long slow zoom in Master to key into the pace of the scene. She chose to represent the POV of the supernatural forces watching from a distance with a zoom lens, while putting the camera on a dolly to act as the character’s perspective.

Find Mariama Diallo: Instagram: @diallogiallo

Find Charlotte Hornsby: https://charlottehornsby.com/
Instagram: @charlottehornsby_

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep163/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

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March 9, 2022

Cinematography Podcast, Latest Posts, Podcast Episodes

Cinematographer Haris Zambarloukos enjoys using filmmaking to study the human condition. As a Greek who grew up in Cyprus, Haris was immersed in the history of Greek tragedy from a young age. He went to art school and studied painting, but found he was more interested in the visual storytelling that filmmaking can do. Haris’ background in portraiture painting carries over into his cinematography today- he favors using closeups in his work, because he finds that the human face is the landscape of our emotions.

Haris’ current film, Belfast, is his eighth collaboration with director Kenneth Branagh. It’s a deeply personal story about Branagh’s childhood experience growing up in Northern Ireland during the civil war between the Catholics and Protestants known as The Troubles. Haris and Branagh chose to shoot the movie almost entirely in black-and-white. The two both love the format, and Haris felt using black and white provided less distraction from the character’s emotions than using color would. They also decided to use extremely limited additional lighting in the movie, relying heavily on natural light in most scenes. Every scene was thought out with depth of field and depth of action, and not just shot for coverage.

For the 2013 film Locke starring Tom Hardy, Haris’ friend, cinematographer Chris Menges, had tested the new Alexa Mini and found that it was possible to shoot with just available light in small spaces. This gave director/writer Steven Knight the idea to write a script that takes place entirely in a car, with only one character, and he asked Haris to be his director of photography. Haris had just wrapped Jack Ryan:Shadow Recruit and was about to shoot Cinderella, so Locke seemed like an interesting challenge to take on. Knight had planned for only a 9 day shoot, with the entire script shot beginning to end each night for three nights. The additional actors, never seen on camera, all phoned in their vocal performances live during the shoot. Capturing the intimate and emotional performances in Locke gave Haris a deep satisfaction about his decision to become a filmmaker.

Find Haris Zambarloukos: https://www.zambarloukos.com/

Instagram: @zambagram

WIN an autographed copy of Directing Actors, 25th Anniversary Edition! Follow us on Instagram (if you don’t already!) @thecinepod and comment on our Judith Weston post!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep162/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Arri: https://www.arrirental.com/en

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

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March 2, 2022

Cinematography Podcast, Latest Posts, Podcast Episodes

Judith Weston has coached and taught directing classes to several now renowned directors, such as David Chase, Ava DuVernay and Taika Waititi. She has updated her book, Directing Actors for its 25th anniversary edition, revising nearly every chapter and adding two new ones.

Judith teaches that a director must have a vision. It’s the director’s job to be the shepherd of the story and have it mean something. The director must also go deeper to figure out what matters to the story, and listen, communicate and collaborate with the actor on the ideas they are trying to convey. A key chapter in Directing Actors discusses how a director must find the “emotional event” or the key dynamics in each scene. This is something both the cinematographer and the editor must understand as well to make a good movie great. Finding the essential emotional event in a scene is what changes someone from simply wanting to be a director into actually thinking like a director.

Find Judith Weston: https://judithweston.com/

Directing Actors: Creating Memorable Performances for Film and Television, 25th Anniversary Edition is available on Amazon

WIN an autographed copy of Directing Actors, 25th Anniversary Edition! Follow us on Instagram (if you don’t already!) @thecinepod and comment on our post for this episode!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep161/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by DZOFilm: https://www.dzofilm.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

Read More