Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Cinematographer Ben Kutchins feels that in filmmaking, you have to be fully committed to believing the story you're telling. When shooting the series Ozark for Netflix, he and director/producer Jason Bateman wanted it to always look dark and shadowy, and many of the shots in the show are done as “oners,” or one long take.

Cinematographer Ben Kutchins feels that in filmmaking, you have to be fully committed to believing the story you're telling. When shooting the series Ozark for Netflix, he and director/producer Jason Bateman wanted it to always look dark and shadowy, and many of the shots in the show are done as “oners,” or one long take.

Cinematographer Ben Kutchins feels that in filmmaking, you have to be fully committed to believing the story you're telling. When shooting the series Ozark for Netflix, he and director/producer Jason Bateman wanted it to always look dark and shadowy, and many of the shots in the show are done as “oners,” or one long take.

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Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Armando Salas, ASC was recently nominated for an Emmy for his work on Ozark season three. Ozark is intentionally lit and shot to be very blue and very dark, because all the characters are in the shadows, desperately hiding and scrambling to avoid exposure. Armando's episodes were shot in a four-episode block, much like a film, so it required him to refer to a detailed shot list, make many notes and continuously refer back to the script.

Armando Salas, ASC was recently nominated for an Emmy for his work on Ozark season three. Ozark is intentionally lit and shot to be very blue and very dark, because all the characters are in the shadows, desperately hiding and scrambling to avoid exposure. Armando's episodes were shot in a four-episode block, much like a film, so it required him to refer to a detailed shot list, make many notes and continuously refer back to the script.

Armando Salas, ASC was recently nominated for an Emmy for his work on Ozark season three. Ozark is intentionally lit and shot to be very blue and very dark, because all the characters are in the shadows, desperately hiding and scrambling to avoid exposure. Armando's episodes were shot in a four-episode block, much like a film, so it required him to refer to a detailed shot list, make many notes and continuously refer back to the script.

00:00 / 00:00

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Subscribe to The Cinematography Podcast

Mandy Walker believes that her job as a cinematographer is not just to make pretty pictures, but to enhance an emotion with lenses, camera placement and lighting. For Mulan, Mandy and director Nikki Caro were free to interpret the film as they wished. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure the feel of each scene.

Mandy Walker believes that her job as a cinematographer is not just to make pretty pictures, but to enhance an emotion with lenses, camera placement and lighting. For Mulan, Mandy and director Nikki Caro were free to interpret the film as they wished. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure the feel of each scene.

Mandy Walker believes that her job as a cinematographer is not just to make pretty pictures, but to enhance an emotion with lenses, camera placement and lighting. For Mulan, Mandy and director Nikki Caro were free to interpret the film as they wished. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure the feel of each scene.

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Ben Kutchins, Emmy-nominated cinematographer of Ozark, on creating the look of the show, working with Jason Bateman, the Veronica Mars movie, Mozart in the Jungle

Armando Salas, ASC, on Ozark season 3, his Emmy-nominated episode, shooting the series Mr. Mercedes, From Dusk Til Dawn, Strange Angel

Mandy Walker, ASC, ACS on Mulan, Hidden Figures, Australia, Tracks, Shattered Glass, working with directors Niki Caro and Baz Luhrmann

Jas Shelton, Emmy-nominated cinematographer on Homecoming Season 2, working with the Duplass brothers, Keanu with Key and Peele, The Stanford Prison Experiment

Emmy-nominated director and cinematographer Paul Cameron, ASC: Westworld, 21 Bridges, Man on Fire, Gone in 60 Seconds, Collateral

Director and DP Brandon Trost: directing An American Pickle, shooting Crank: High Voltage, Halloween II, Can You Ever Forgive Me?, HBO pilot for Barry, comedy films MacGruber, The Interview and The Disaster Artist

Director Ron Howard and DP Lincoln Else on the documentary Rebuilding Paradise

Greig Fraser, ASC, ACS on The Mandalorian, Lion, Rogue One: A Star Wars Story and more

War Stories Vol. 3: Tales from the Set featuring Laura Merians Gonçalves, Seamus McGarvey, Charles Papert, Charlotte Bruus Christensen, Mike Dallatorre, James Laxton, Jaron Presant, Don Morgan, Roman Vas’yanov, Benoît Delhomme, and Thorsten Thielow

Alex Winter on his HBO documentary Showbiz Kids, experience as a child actor, moving from acting to directing, The Lost Boys, The Idiot Box, Freaked, Bill & Ted Face the Music, Zappa, and more

Jody Lee Lipes on shooting the HBO series I Know This Much Is True, A Beautiful Day In The Neighborhood, Girls, Tiny Furniture, Martha Marcy May Marlene and more

John Brawley, DP of the Hulu series The Great, talks creating his visual manifesto for the satiric show and more

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