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 eight-episode limited series, shot entirely by Vincent, was approached less like television and more like one very long feature film.

Podcast highlights include:
-Lyle’s long-running collaboration with director/producer Antonio Campos and how it shaped his approach to shooting The Beast in Me as one continuous long-form story, rather than eight separate episodes.
-Using Panavision’s Ultra Panatar lenses in the sweet spot, with just enough anamorphic blur without distortion.
-How the lighting shifts as the characters’ true natures grow darker and harder-edged, undermining the audience’s trust.
-How Lyle’s hard-light, deep-shadow style of Beast traces back to his early work on A Girl Walks Home Alone at Night. He lights only what he wants the camera to see and lets everything else fall to black.

Find Lyle Vincent: http://lylevincent.com/
Instagram: @lylevincent
The Beast in Me is streaming on Netflix.
Hear our previous episode with Lyle Vincent on the movie Rosemead: https://www.camnoir.com/ep337/

SHOW RUNDOWN:

01:52 Close Focus
07:05-53:32 Lyle Vincent Interview
53:57 Short Ends
01:03:19 Wrap up/Credits

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
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