September 20, 2023

Talk to Me cinematographer Aaron McLisky, ACS

Cinematographer Aaaron McLisky is thrilled that Talk to Me, a small Australian independent horror film, has found such a huge audience. It has become A24’s highest grossing horror movie in North America. The movie is about a group of friends who discover how to become possessed by spirits with an embalmed hand, creating a thrilling party game. The main character, Mia, has recently lost her mother, and her grief makes the idea of finding her mom on the other side both compelling and dangerous. But soon, the supernatural forces can’t be controlled any longer.

Aaron had heard rumors about the Talk to Me script and was intrigued to find out more about the project when directors Danny and Michael Philippou direct messaged him on Instagram. The twin brothers had no feature film experience, but are self-taught YouTube filmmakers. Their channel, RackaRacka is huge, and features a series of horror/comedy shorts completely shot and edited by Danny and Michael.

During the development and pre-production of Talk to Me, Aaron and the brothers discussed how they wanted the film to look cinematically and frequently workshopped and filmed sequences. Aaron always wants to elevate the story through cinematography, making sure that every frame and every camera movement speaks to a world that’s truthful to the characters. He wanted to be sure that the camera work elevated the tone of the horror movie, by showing or withholding information as needed. As a former editor, Aaron constantly thinks about editing- how certain sequences will go together and how much coverage might really be needed. Once production started, he found it exciting to be bold, keeping coverage of each scene minimal, and confident that they didn’t need more. He kept scenes lit with practical lighting and green fluorescents as much as possible, making Mia seem sickly and possessed. During the possession scenes, Aaron chose to contrast the sequences with unmotivated lighting, and as Mia’s psychological decay progresses, the film subtly becomes darker and more desaturated in the grade.

Aaron was born in Australia but lived in Indonesia for much of his childhood. He fell in love with photography there and knew he wanted to study film, so he returned to Australia. After completing his degree, he got a job at a production company as an editor, eventually moving into directing commercials and music videos, but he didn’t enjoy it. Aaron found he was always more interested in visual images as a storyteller, so he decided to start over as a cinematographer. He was fortunate enough to shoot a music video for YouTube stars, The Bondi Hipsters, who then asked him to be the cinematographer for their television series. Aaron also served as the primary cinematographer of the FX series, Mr. Inbetween.

Talk to Me is still playing in theaters and is available to purchase on VOD.

Find Aaron McLisky: http://aaronmclisky.com/
Instagram: @aaronmclisky

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
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The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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August 31, 2023

Director Alex Winter on his documentary, The YouTube Effect

It’s an “All Things YouTube and the Creator Economy” episode! We welcome returning guest, director Alex Winter whose latest documentary is The YouTube Effect. You may know Alex Winter for his role as Bill in the Bill & Ted movies, but these days he’s an accomplished documentary filmmaker. Many of Alex’s films explore the role of technology in our society, such as Downloaded, about the rise and fall of Napster, to Deep Web, about the online black market Silk Road.

The YouTube Effect explores the origins of the website, which began in 2005, and its rapid growth into one of the most powerful media platforms today. Interviews with early YouTube creators such as Anthony Padilla of the channel Smosh, YouTube co-founder Steve Chen, and former YouTube CEO Susan Wojcicki are featured in the movie. The documentary also dives into the many layers of controversy around YouTube, both good and evil. As a free, easy to use public platform with little to no regulation, YouTube is a forum open to all, inspiring the Arab Spring protests and Black Lives Matter movement. But as we’ve seen in recent years, YouTube also spreads propaganda and can radicalize vulnerable people to dangerous causes.

Coming from the world of film, director Alex Winter sees both similarities and differences between the creator economy of YouTube vs. the traditional media economy. He thinks that the entertainment industry has made a mistake in trying to monetize in similar ways to YouTube. The shift into streaming by media companies hasn’t monetized well for anyone, nor is it sustainable- hence the current WGA and SAG strike. Both industries currently find themselves at a crossroads: they need to balance valuing money over the well-being of the workers/creators, and for YouTube’s part, to allow regulation in order to stop actual harm to our society.

YouTube is a public forum owned and controlled by one of the biggest corporations in the world- Google- with 4.6 billion views a day. People can watch all of their news, all their entertainment, all their TV, even all of our recorded human history there. It’s both a search engine and the largest media conglomerate on earth. And the creator economy continues to thrive. As The YouTube Effect points out, by allowing people to simply add their own content, there’s no barrier to entry to get started on YouTube. Ad dollars are attached to how many views the content receives. The downside is that YouTube creators feel the grind to constantly make content, because they’ll get replaced instantly by someone else.

We’re in a new phase of YouTube’s power, Alex notes, which includes monetizing disinformation and propaganda. YouTube provides no guardrails and no standards and practices for what is posted on the site, and very little on the site is monitored or taken down. As a monopoly, the company has no competition and very little incentive to delete content. As he explores in The YouTube Effect, channels such as Prager University- a right-wing non-accredited online “school”- is heavily funded by dark money, promoting conservative agendas. This disinformation will spread quickly- the Florida Board of Education has just approved PragerU Kids videos to be shown in K-12 schools.

Alex believes that YouTube needs regulation to prevent the spread of dangerous propaganda that’s funded by ideological interests with deep pockets. Education in media literacy and lessons in how to recognize disinformation for both adults and kids will also be key to creating safer content on the platform. YouTube won’t go away and it will evolve- people have created robust communities on the platform, and it is part of our society.

You can watch The YouTube Effect streaming on Kanopy, and on VOD: iTunes, Prime Video, VUDU and other platforms.

Find Alex Winter: https://alexwinter.com/
Instagram: @alxwinter

Hear our previous interview with Alex, discussing his documentary Showbiz Kids. https://www.camnoir.com/ep84/

WATCH THIS INTERVIEW on our YouTube Channel! Ironically (or not) this is our first interview actually recorded on-camera for YouTube.
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Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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July 19, 2023

Junk Film: Why Bad Movies Matter author Katharine Coldiron

Author Katharine Coldiron wrote her book, Junk Film: Why Bad Movies Matter around thirteen essays exploring movies from the 1940’s to the 2010’s. Ed Wood’s Plan 9 From Outer Space, Attack of the 50 Foot Woman, Staying Alive, and the musical television show Cop Rock are just some of the disastrous projects explored in the book. Katharine feels that bad movies can be unintentional teaching tools for film students and movie aficionados- but you have to watch a ton of bad movies before you can learn anything from them.

There are specific elements that all bad movies share: insufficient resources, incompetence in the basics of filmmaking, and bad acting or screenwriting that create unintentional comedy. Bad movies are actually records of ATTEMPTS at making a movie, and you can see the broken mechanics of each project discussed in Junk Film. In writing the book, Katharine chose to focus on movies she was interested in exploring. She didn’t want to write about movies that have been well-covered. For example, she chose not to write about Tommy Wiseau’s The Room, but instead focused on his follow-up, another stinker called Best Friends.

Katharine feels that the problem with most junk films is not the cinematography, which is at least usually competent. Where these films fail is in the directing and editing process, with the director incompetently stringing along narrative logic from one scene to another. After watching so many bad movies, Katharine has a pointer for creating a good movie: if the director, editor and crew is cohesive, competent, and cares about the film’s final quality, then your movie will at least be watchable.

Junk Film is available on Amazon and at Barnes&Noble.com

Find Katharine Coldiron: http://kcoldiron.com/
Twitter: @ferrifrigida

WIN an autographed copy of Junk Film: Why Bad Movies Matter. Follow us on Instagram @thecinepod, Threads @thecinepod Facebook @cinepod or Twitter @ShortEndz and comment on our post about the book giveaway for this episode!

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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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July 12, 2023

Star Trek: Picard and Schmigadoon! Cinematographer Jon Joffin, ASC

Jon Joffin, ASC has learned the importance of staying creative, committed and inspired during shoots. In his long career as a cinematographer, Jon has learned how to work on a team, manage people, and surround himself with those who really care about their craft.

When he was first starting out, Jon was hired as a second unit camera operator on The X-Files. Prior to that, he had only worked on music videos and smaller films. The X-Files was a huge show at the time, and Jon quickly moved up to DP for several episodes. The dark and bold look was extremely cinematic, with its signature scenes of bobbing flashlights in the dark woods. The X-Files search for dark secrets set it apart from most high-key sitcoms and workplace dramas that were popular at the time, and it opened up many new opportunities for Jon’s career.

For the series Star Trek: Picard Season 3, the series creators decided they wanted a big, rich cinematic look for the show. In the previous two seasons, the ship had been lit overhead with sky panels, giving it a flatter look. Jon chose bigger, softer light sources and fewer cameras that could focus on the faces of the well-known actors who were reuniting from Star Trek: The Next Generation. He wanted to get good close-ups that would capture their performances and their ease of working together. It was also important to make it look and feel like a realistic spacecraft and not a set. The crew rebuilt the Starship Enterprise set for the show, and it needed to be lit in a similar way that people remembered from Star Trek: The Next Generation. Jon brightened up the lights on that set so that it was a closer match to the original Enterprise.

The Apple TV+ series Schmigadoon! is about a couple who gets lost while backpacking and find themselves in a magical world of musical theater. Season Two finds the couple trying to get back to Schmigadoon, but they end up in Schmicago instead. Jon was excited to work on Schmigadoon! Season 2, because he loves musicals and had previously shot one called Julie and the Phantoms. Schmigadoon! season 2 is based on darker musicals than season 1, such as Chicago, Cabaret and Sweeney Todd, interspersed with 70’s musicals Godspell and Hair. Jon met with showrunner Cinco Paul, who wrote the Despicable Me and Minions movies and who wrote the songs and scripts for season 2. They decided to use a bright, Technicolor look, with a soft contrast, while also working in darker, vibrant tones for the more harrowing musicals.

Jon Joffin just received an Emmy nomination for his work on Schmigadoon! Season 2. You can find it on Apple TV+

Star Trek: Picard is on Paramount Plus

Find Jon Joffin: https://ddatalent.com/client/jon-joffin-asc-mini-series-and-tv-movies
Instagram: @jonjoffin

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

By Illya Friedman

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June 8, 2023

Jimmy Kimmel Live! cinematographer George Feucht

We finally welcome George Feucht, friend of the Cinepod and frequent collaborator of Ben Rock’s. George has shot many of Ben’s directorial projects, such as the web series, 20 Seconds To Live and the short film, Future Boyfriend.

Cinematographer George Feucht grew up in a small town in Wisconsin, where the closest movie theater was about 20 miles away. Working on high school and local theater productions gave George an education in lighting. He also learned photography, getting a job as a photo journalist for the local newspaper. Once George enrolled in USC film school, he learned about storytelling and set etiquette. He realized that becoming a cinematographer brought all of these skills together.

After college, George began working as an electrician and cameraman for home improvement and reality TV shows. He enjoyed working on reality shows because it’s challenging work- setting up and lighting shots, yet with little to no control over the unscripted action. He then made his first feature, Dance of the Dead with his friend, director Greg Bishop. They worked together again on a horror feature called Siren.

George began working on Jimmy Kimmel Live! shooting comedy bits such as “Mean Tweets” outside the studio for the field department. They often have to shoot the sketches on the same day the show airs. George says the secret to working so fast is to have a great team, with great producers who figure out all the logistics. The writers are also incredible, coming up with something brilliant that can be done in a very limited timeframe, often with very famous A-list actors. It’s an unpredictable and challenging job that changes every day, but George enjoys being a part of making something funny. For the improvised, man on the street comedy bits, he has to pull his own focus and try to get the comedy timing right. Everyone on the crew feels like a family, and George enjoys watching Jimmy working during the rehearsals.

Jimmy Kimmel Live! is dark for now because of the writer’s strike. Fortunately, George has been able to stay employed shooting commercials.

Jimmy Kimmel Live! airs every weeknight on ABC.

Find George Feucht: https://www.georgefeucht.com/
Instagram: @georgefeucht

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

By Illya Friedman

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April 27, 2023

David “Gribs” Gribble, ACS on his long career and films Cadillac Man, The World’s Fastest Indian, The Quest, Jesse Stone

David “Gribs” Gribble grew up in Brisbane, AU and began studying photography at night school. He became a photo assistant, moved to Sydney, and found a job at a local film studio making commercials and low-budget movies. At the time, in the 1970’s and ’80’s, Australia was experiencing a resurgence of its cinema, known as the Australian New Wave. The government provided tax incentives for ordinary people to invest in movies, and established the Australian Film, Television and Radio School. The country’s film industry was jump started, and the genre known as Ozploitation was born.

Gribs learned camera operating on the job. His first feature film was The Man From Hong Kong, followed by the Aussie cult classic race movie, Running On Empty. The film Monkey Grip won some awards, and Gribs was asked to shoot his first American movie, Off Limits, starring Willem Dafoe and Gregory Hines. He thinks that working with American actors was different than working with Australian actors- the Americans seemed to be more prone to distraction and sensitive about their appearance. Gribs learned to “light faces, not places” since that’s where the dialog comes from, and flattering actors by telling them how great they look in a particular spot, to give them tools to make themselves look better on screen. He also learned that in lighting, it’s better to work with a broad brush and shoot before you’re ready- as a cinematographer, don’t indulge yourself too much.

The movie Cadillac Man was challenging to shoot for a few reasons. The movie takes place almost entirely in one location- at the car dealership. Gribs had to combat flat lighting up against the walls of the office, as well as dealing with reflections from shiny cars and large windows. Director Roger Donaldson shot take after take, because actor Robin Williams was constantly improvising off script. Gribs found him extremely funny, and says there was so much extra footage of Williams that was cut out, it could probably make another movie.

Gribs also discusses working with Anthony Hopkins on The World’s Fastest Indian, Jean-Claude Van Damme on The Quest and shooting the Jesse Stone movies starring Tom Selleck.

Find David Gribble: Instagram @gribshott

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
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Sponsored by Greentree Creative: www.growwithgreentree.com

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YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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April 19, 2023

Mark H. Harris, film critic and author of The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar

Mark Harris has enjoyed watching horror movies since the age of about 10 or 12. Growing up in the 1980’s with so few Black characters on TV or in movies, he always noticed when there was a person of color onscreen. It stood out even more in horror, and the Black character would inevitably end up dead since they were never the main character. As an African American horror movie fan, he decided to start keeping track of the countless ways in which Black characters were killed. In 2005, Mark started the website Black Horror Movies, where he reviews the portrayal of Black characters in genre movies all the way back to the beginnings of cinema. Mark’s website provided a lot of the background information he and co-author Dr. Robin R. Means Coleman needed for their book, The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar. While the subject matter is serious, The Black Guy Dies First is a fun read, written with humor and insight. It includes lots of pop culture references, timelines, photos and concrete examples of Black representation in horror.

Mark and Ben discuss many of the topics and issues raised in The Black Guy Dies First. Horror movies have always been seen as the ugly stepchild of Hollywood, and many people still think of horror as inconsequential. But this also allows horror movies to be transgressive, and push boundaries because the expectations for it to perform with mainstream audiences are low. Scary movies have a tendency to explore different avenues and reflect society’s fears and anxieties. Race in America is one of the biggest touchstones as far as fear and anxiety, so it’s valuable to analyze it as part of the horror genre. The trope of “the black guy dies first” is a history of how Black characters have been marginalized in movies. Since they are never the lead character, they are disposable. One of the exceptions, Night of The Living Dead, was ahead of its time, because it had a Black character in the lead. This made it an outlier in the history of black characters dying.

Other cliches and stereotypes Mark sees that marginalize African Americans in horror are: The Best Friend, The Voice of Reason, The Authority Figure (such as a Black cop), The Sacrificial Negro (the character who somehow decides not to save themselves, even if they could), and The Magical Negro (who is just there to help the white main character, such as in The Shining.) Mark does see the horror genre finally changing for the better- Jordan Peele’s Get Out was a runaway smash, which has allowed for more Black leads in horror movies and across all film genres. And he was genuinely surprised that Peele’s NOPE got any kind of Oscar buzz in 2023 (though it did not receive any nominations.) Other recent films such as His House, Master, and Nanny actively explore the social issues and history of Black trauma.

Mark agrees that the best way to increase diversity in front of the camera is to increase diversity behind the camera. When people of color are writing and directing, it empowers the development of strong characters and provides opportunities for diverse points of view. In Hollywood, there has always been the excuse that too many Black leads in a movie would make it a “Black movie” and therefore not appeal to all audiences or do well internationally. But now, a lot of blockbusters have people of color as the lead, which seems to prove that this attitude is changing. At the same time, it’s important for filmmakers to not necessarily try to make the next Get Out- often, social commentary can feel wedged into the storytelling, when it didn’t need to be. Mark feels that the key to Black horror is to show range in the storytelling, but it doesn’t always have to be so serious. As a genre, horror is the most self-aware of its tropes and tendencies, so it is constantly challenging itself to change things up and find better ways to scare you.

Find Mark Harris: https://www.blackhorrormovies.com/
Twitter @blacula

The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar is available on Amazon, Audible and in bookstores everywhere.

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Greentree Creative: www.growwithgreentree.com

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

By Illya Friedman

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April 12, 2023

Michael Zink, President, UHD Alliance discusses Filmmaker Mode for television sets

Michael Zink is president of the UHD Alliance, an industry group founded in 2015. He is also the Vice President of Emerging and Creative Technologies at WarnerMedia. The Alliance was founded to bring together consumer electronics manufacturers, film and television studios, content distributors and technology companies to have unified technical specifications for what Ultra High Definition should be.

Michael has been instrumental in helping set the standards for Filmmaker Mode, an option now available on most new TVs. Most electronics manufacturers have automatic factory pre-sets on their HDTVs that include post-processing of the image, known as “motion smoothing” or “smooth motion” which makes every image onscreen look like the evening news or a videogame. It can be very difficult to figure out how to disable it or turn it off. Starting around 2014, actors, directors and cinematographers like Tom Cruise, Rian Johnson, Christopher Nolan and Reed Morano loudly decried the smooth motion default settings and were very upset that their films were not being seen at home as they had intended. Tom Cruise even went so far as to make a PSA he posted to Twitter in 2018, asking viewers to turn off motion smoothing.

UHD Alliance met with industry groups such as the ASC and the DGA, and determined that preserving filmmakers’ creative intent on home televisions was very important. UHD Alliance then came up with the specifications for Filmmaker Mode, which most manufacturers have adopted. Filmmaker Mode is designed to help you watch movies and TV shows at home the way that filmmakers intended AND make it very easy for consumers to use. Most people just use their electronics directly out of the box, without any special calibrations. By disabling all post-processing such as motion smoothing, and preserving the correct aspect ratios, colors and frame rates, Filmmaker Mode enables your TV to display the movie or television show’s content precisely as it was intended by the filmmaker. Today, even streaming services such as Amazon Prime Video have automatic switching in the data stream that will communicate with certain brands of televisions to switch it to Filmmaker Mode.

Find Michael Zink: Twitter @_MichaelZink

UHD Alliance: https://www.experienceuhd.com
@experienceUHD

Filmmaker Mode: https://filmmakermode.com

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Greentree Creative: www.growwithgreentree.com

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

By Illya Friedman

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February 22, 2023

Oscar-nominated documentary All That Breathes cinematographers Ben Bernhard and Riju Das

All That Breathes follows the story of two brothers in New Delhi, India who run a home-based bird sanctuary dedicated to caring for black kites. Black kites are a common bird of prey in the city and have adapted well to living alongside humans. But as the pollution and toxic garbage in New Delhi increases, the kites, as well as other birds, fall ill from smog and other hazards in the urban environment. Muslim brothers Saud and Nadeem, along with their friend Salik, found a passion for caring for birds as kids and it seems like a thankless job as they apply for funding to expand their work.

Director Shaunak Sen worked with cinematographers Ben Bernhard and Riju Das to simply follow and capture the brother’s day-to-day life, and emphasize the interconnectedness of all things within a busy urban place like New Delhi. DP Ben Bernhard wanted to show the coexistence of all the animals in the city and create a perspective for the audience to see things down at their level. In fact, All That Breathes opens on a nest of rats living in a traffic circle in the city, right at a rat’s-eye view. Cows, pigs, and monkeys also live alongside the people, just like the kites, and adapt to their surroundings. Cinematographer Riju Das recalls carefully getting closeups of ants and a bottle full of mosquito larvae. The whole team was rigorous and meditative about taking the time to capture the beauty of urban wildlife in the city, and they would pick up the camera to shoot any animals where they found them. They utilized long, slow pans, a narrow depth of field and extreme close-ups of animals throughout.

All That Breathes is currently available on HBOMax and is nominated for an Academy Award for Best Documentary Feature.

Find cinematographer Ben Bernhard: Instagram @ben_bernhard
Find cinematographer Riju Das: Instagram @eyeris_4

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

By Illya Friedman

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November 10, 2022

Trevor Kossack, WPA partner and commercial agent for cinematographers, production designers, editors, costume designers and more

As a partner and commercial agent at WPA- Worldwide Production Agency- Trevor Kossack represents directors, cinematographers, production designers, editors and costume designers. Trevor has a passion for those responsible for crafting the images that make movies, television shows and commercials.

Trevor first studied medicine in college, but soon realized that he didn’t want to be a doctor. He also had family in the entertainment industry and got an entry level job at the William Morris Agency. He found he really enjoyed working in a talent agency. As he switched agencies and worked his way up, Trevor decided he wanted to represent those below the line more than actors or writers. He appreciates what cinematographers, production designers, costume designers and editors need to do to create art, and everyone needs representation to protect their bests interests when they’re up for a job.

When looking for new talent, Trevor wants to fall in love with the person’s work and how it makes him feel. He likes to see real, human stories that draw people in, no matter what the subject. He networks with potential clients at film festivals and industry events, and keeps his finger on the pulse of industry news to find out the latest projects and people on the rise. Trevor enjoys having a good relationship with his clients, and is always looking to create a great “marriage” between a director and a DP. As an agent, Trevor’s job is to have conversations with his clients about what’s available, what their brand is and how it can be adjusted, and matching the person to the right job. He always respects an artist’s choice on the jobs they decide to take, or pass over.

Trevor’s tips on how to find an agent:

Have a reel of your work and feel confident in the work you’ve done so far, no matter how much experience you have.

Make a plan and discuss what your plans are for your career in the next year, and then the next 5 years.

Figure out who your influences are, including any and all art, from fine art and photography to architecture or anything else.

Remember that getting an agent is just a step along the way. Everyone in the entertainment industry still needs to network and hustle to find their next projects.

He’s always open to emails, phone calls or taking a look at a potential client’s reel. Even if you don’t get representation right away, it’s always good to stay in touch.

Find Trevor Kossack at WPA: https://wp-a.com/

Sponsored by Aputure: https://www.aputure.com/
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

By Illya Friedman

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