April 30, 2025

Jessica Lee Gagné: Pushing Boundaries in Severance Season 2

The Cinematography Podcast Episode 308: Jessica Lee Gagné

Cinematographer Jessica Lee Gagné is an essential creative force behind Severance on Apple TV+. She has an expanded role in the show’s second season with a producer credit and directs the pivotal episode 207, “Chikhai Bardo.” The series’ unique look and world-building is meticulously crafted through extensive testing and close collaboration between her and showrunner Ben Stiller, who also directs the majority of episodes.

For Severance Season 2, Jessica embraced a darker aesthetic, intentionally tweaking the look from the previous season. Even within the artificial office environment of Lumon, she pursues a blend of natural realism and heightened visuals, favoring practical, in-camera effects whenever possible. Location shooting for the episodes “Woe’s Hollow” and “Sweet Vitriol” required flexibility due to changing weather conditions. Unexpected foggy weather worked in the crew’s favor while shooting “Woe’s Hollow” and enhanced the spooky atmosphere of Irving’s nightmare sequence.

Inside the Lumon offices, lighting is pre-planned as part of the production design, with lights built into the ceiling and the set. Season 2 introduces more complex and colorful lighting cues compared to the first season, especially in the finale. Vibrant green and blue lighting creates a feeling of chaos during the “Choreography and Merriment” marching band performance, and intense red emergency lighting strobes down the halls as Mark and Helly attempt their escape. “Red is a color that we don’t use in the show in general,” notes Jessica. “You have this association with love, passion, intensity with the color red. And then in the final shot, we land in this deep red moment with them, that was transferred onto film in the end and rescanned to give it an actual authentic feel.”

Jessica decided she wanted to direct for the first time on season two, despite feeling nervous about it. She chose episode 207 “Chikhai Bardo,” which explores Gemma and Mark’s past and depicts how Gemma is tormented at Lumon in different severed tests. “This was something that I really deeply wanted,” she explains. “I realized that on this show with the crew that knew me, the cast that knew me, with Ben (Stiller) supporting me and the producers as well, that this opportunity would never come up for me again in my life. I really needed to just go for it and give it my all.” Jessica also was director of photography for the episode, since she felt so familiar with creating the show’s look. However, the dual role was challenging. “That was harder,” she admits. “And then working with myself was weird. I realized on set that everything was going so fast.” There was no pausing for a separate director-cinematographer discussion after takes, which meant turning to others for validation and support. Directing the cast was a rewarding experience and they welcomed her leadership. Jessica had extensive conversations with actress Dichen Lachman (Gemma) beforehand to explore her character’s emotional state and shifting personalities within the episode.

A significant element of episode 207’s visual language involves sequences depicting Mark and Gemma’s past, which were captured on film. While Severance primarily uses digital cameras, Jessica opted for both 35mm and 16mm film for the flashback moments. Borrowing a Bolex camera from the gaffer, she and director Ben Stiller shot some of these intimate sequences between Mark and Gemma on the fly.

Jessica is currently in the process of directing her first feature. She will always have a deep appreciation for cinematography. “I feel like I have so much respect for that craft,” she says. “After being in it for 15 years, I know what goes into it. I know how you have to be such a giving person to do that. And I really do love it so much.”

You can see Severance on Apple TV+

Hear our previous interview with Jessica Lee Gagné about Severance Season 1.

Find Jessican Lee Gagné: Instagram @jessicaleegagne

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The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
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Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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March 19, 2025

Grace Point indie film director Rory Karpf & DP Al Francesco

For director Rory Karpf, a core philosophy is that things are going to change- a lesson learned from years of documentary filmmaking. This flexibility proved invaluable when crafting his indie feature, Grace Point. Adapted from a larger, more ambitious script, Grace Point tells the story of a young man on his way to a remote drug rehab. His journey takes a dark and unexpected turn when he finds himself in a strange town being chased by the locals and his own personal demons.

The genesis of Grace Point began with a documentary shoot in a very specific location. Rory and cinematographer Al Francesco were working on recreations in Laurinburg, North Carolina. Al suggested that Rory reimagine the script as a smaller, more intimate indie film, using the town’s natural settings. They were able to find every location they needed in Laurinburg and the surrounding area.

The rapid 19 day production schedule with 10-hour workdays required working around outdoor shoots and unpredictable Southern weather. With many locations donated, Rory and Al knew they couldn’t waste time with reshoots or lose any days to the weather. They dedicated two weeks to detailed location and technical scouting, meticulously planning shots and coverage. Al found the time to be flexible and see compositions when they naturally occurred, like taking advantage of a beautiful foggy morning during the shoot.

Rory and Al’s background in documentary filmmaking proved to be a significant asset. “One thing I learned with documentaries are things are gonna change,” Rory states. “With narrative scripted filmmaking, it could be the actor isn’t getting the scene right for whatever reason. We’re gonna try something a little bit different, and be open to that working.” Al’s documentary instincts led him to adopt a “keep the camera rolling” approach, even after “cut” was called, capturing authentic reactions. He also streamlined the process by lighting entire scenes and shooting multiple angles without resetting, and even capturing close-ups and inserts during rehearsals.

The collaboration between Rory and Al began at NFL Films, where they honed their skills on sports documentaries featuring prominent figures like Peyton Manning (The Book of Manning) and Snoop Dogg (Coach Snoop). These “follow docs” often involved recreations, which served as mini-movies, providing valuable experience for their transition to narrative filmmaking. Their established network of crew members, producers, and access to affordable gear proved crucial. “It’s not a negative for us to have a small crew and make the most of it- that’s normally what we do,” Al notes.

For Rory, the most vital aspect of filmmaking is fostering a positive and enjoyable atmosphere. “Working with Al, he makes the stuff look great, but he also understands how it incorporates in the story,” he says. This blend of technical expertise and storytelling acumen is what brought Grace Point to life, proving that even with limited resources, passion and ingenuity can create compelling cinema.

You can purchase Grace Point on Apple TV and Amazon Prime.

Find Rory Karpf: https://www.gracepointfilm.com/
Find Al Francesco: https://www.albefilms.net/
Instagram: @gracepointfilm

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/
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The Cinematography Podcast website: www.camnoir.com
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Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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February 19, 2025

Paul Guilhaume, AFC: opera and realism in Emilia Pérez

Emilia Pérez is about a Mexican cartel leader, Manitas Del Monte (Karla Sofía Gascón) who hires a lawyer (Zoe Saldaña) to help him disappear, undergo gender affirming surgery, and transition into a woman. But even as Emilia Pérez, she is unable to fully leave her dark criminal past behind. Director Jacques Audiard saw the film as a unique blend of gritty drama like Amores Perros and an opera. He approached cinematographer Paul Guilhaume, AFC to collaborate on his vision.

With a combination of operatic grandeur, gritty realism, and dynamic camerawork, Paul Guilhaume has been nominated for an Academy Award for his visually stunning cinematography in Emilia Pérez. Paul was impressed with the story arc when he received the script for the movie. “There is something a bit like a classic drama or a very classic structure of a play,” he explains. “The actions of the past come back, and the darkness comes back in the film at the end.” This dramatic structure, combined with the operatic elements, presented a unique challenge. Audiard initially conceived Emilia Pérez as a five-act musical stage play before deciding to film it. The theatrical influence is apparent in the film’s structure and visual approach.

The drama unfolds during the musical numbers, revealing information about the story. All of the musical numbers were written into the script and became a thread interwoven throughout the film. Paul used a variety of styles to shoot each music scene. He chose classic shot-reverse-shot for intimate moments, to stylized, modern music video techniques and grand, classic musical visuals for moments of heightened movement and energy. Months of preparation and rehearsal allowed the actors to meticulously block and choreograph the dance scenes in tandem with the Steadicam, resulting in seamless integration of movement and camera.

In Emilia Pérez, the camera is always in motion, matching the pacing of the music. “Jacques has an aesthetic of movement, the camera is almost never still,” says Paul. “There’s something in motion in each and every frame that’s not photographic composition, but cinematographic composition. Your eye is always in motion, taking you from one shot to the next.” The film’s visual tone shifts as Emilia’s past catches up with her. Paul responded to the shift with higher contrast, theatrical lighting, bringing up the darks with black walls and using an infrared camera.

Despite the film’s ambitious scope, it began as a small, independent production with a limited budget before being picked up by Netflix. This constraint led to the decision to shoot digitally with a Sony Venice, a choice that ultimately saved time and money. Paul and Audiard focused on crafting memorable moments, striving to create one key image per scene to build a lasting “visual memory” for the audience.

Emilia Pérez is on Netflix.

Find Paul Guilhaume: Instagram: @paul_guilhaume

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Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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December 18, 2024

Lawrence Sher, ASC on ShotDeck, Joker: Folie à Deux

Cinematographer Lawrence Sher, ASC has a career that spans indie favorites like Garden State to blockbuster hits like the Hangover movies and Joker. But it was the arduous process of creating lookbooks for Garden State that sparked an idea: a comprehensive, searchable database of cinematic images. This idea evolved into ShotDeck, a powerful tool for filmmakers and creatives alike.

Larry’s initial struggle involved manually grabbing screenshots from DVDs and tapes. Google Images offered some help, but the images lacked the cinematic quality he sought. By 2015, he began working with a computer engineer to build a solution, realizing that if he found such a library valuable, his colleagues would too. After years of beta testing, ShotDeck officially launched as a company in 2020.

ShotDeck can also be used beyond pre-production pitch decks. “In my day to day, what I realized was every director I communicated with, across all the other departments, we were constantly in need of communicating creative ideas,” Larry says. “It’s difficult to communicate creative ideas with words. Having images that you can point to with a director is the easiest way.”

Larry would like ShotDeck to become the “visual IMDb,” housing an exhaustive collection of cinematic imagery. Recently, ShotDeck partnered with Canva, integrating its library directly into the design platform. This allows Canva users to seamlessly access and incorporate over 1.5 million high-definition film stills into their projects, streamlining workflows for filmmakers, designers, and content creators.

For Joker: Folie à Deux, Larry and director Todd Phillips continued their 15 year collaboration. Certain scenes of the movie were partly influenced by The Sonny and Cher Comedy Hour. Larry had to rely on using screen grabs from the show’s DVDs as visual references, since they weren’t inputted into ShotDeck yet. Joker: Folie à Deux maintains a visual connection to the first Joker, but expands on the original by embracing more fantastical elements. They scaled up the stages and sets, which provided greater flexibility in lighting and camera movement. Larry was able to use more color and a wider range of lighting techniques during the musical sequences, as Arthur Fleck becomes more and more detached from reality. He sees Joker: Folie à Deux as an operatic tragedy, exploring the internal conflict of a person battling their shadow self and delving into the complexities of love and its potential to drive someone to the edge.

Larry defends director Todd Phillips’s creative vision for the sequel. “When you make a sequel, you have to have a new approach to the material, otherwise why do a sequel to anything?” he points out. “This idea that Todd just took $200 million and just lit it on fire is absurd. The greatest thing about Todd as a filmmaker is he’s at heart a gambler. He’s a gambler in the way that the movie business should be a gamble. What are we doing this for if not to continue to express something that isn’t simply trying to service the audience? We’re giving something that you might not have asked for.” He continues, “The movie we made and the way we approached it, it’s exactly what we were trying to do.”

Find Lawrence Sher: Instagram @lawrencesherdp

Hear our previous interview with Lawrence Sher on Joker: https://www.camnoir.com/ep56/

You can see Joker: Folie a Deux currently streaming on Max.

Shotdeck is now available on Canva.

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The Cinematography Podcast website: www.camnoir.com
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Facebook: @cinepod
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Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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November 27, 2024

From grunge to Gladiator II: John Mathieson, BSC

Cinematographer John Mathieson, BSC began his career shooting music videos for bands like Nirvana and Hole, moving into documentaries and commercials before working in feature films. Rather than going to film school, he joined friends who formed a film collective and everyone learned from each other. Director Ridley Scott saw his work on the movie, Plunkett & Macleane, and approached him to shoot Gladiator. “I never thought I’d be the sword and sandals guy,” says John. “I was doing grunge videos!” John was nominated for an Academy Award for Best Cinematography for Gladiator.

For Gladiator II, John embraced the advancements in visual effects technology, which allowed for more efficient and creative storytelling. While the film was shot digitally, his approach to cinematography remained similar to the first film. “We didn’t do much different with the cameras or the language of the story,” he says, “but parts of the filmmaking process have gotten faster and easier. We shot on digital in about half the time it took to shoot Gladiator.”

John focused on creating a visually striking world in Gladiator II, inspired by historical paintings and the contrasting environments of Rome and the desert. He wanted high contrast lighting, especially in the desert scenes at the beginning of the film and in the gladiator arena so that it looked dusty, hot, and overexposed. In contrast, the light inside the Roman homes is warmer and richer. John describes it as, “Everything’s got dust and then Rome is colorful, opulent- grapes, wine, peacock greens, paisleys, fabrics, all that kind of decadence-it’s camp, it’s vulgar, it’s Vegas 1970.”

When choosing projects, John prioritizes scripts that resonate with him and directors who can effectively guide the filmmaking process. He enjoys exploring and working in different film genres. “I like to think I don’t have a style, you know, that I can adapt to what is on the page or what is important,” he says.

Gladiator II is currently in theaters.

Interested in more Gladiator? Hear our past interview with Adam Somner, Gladiator 2nd AD and frequent Ridley Scott collaborator: https://www.camnoir.com/ep125/

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The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
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By Illya Friedman

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September 18, 2024

Shotcraft: A Masterclass in Cinematography with Jay Holben

Shotcraft: Lessons, Tips & Techniques on the Art and Science of Cinematography is a new book by veteran cinematographer, producer and director Jay Holben. Shotcraft offers a comprehensive guide to the art and science of filmmaking. Based on his popular column in American Cinematographer, the book offers insightful essays and practical tips that cover a wide range of topics, from technical fundamentals to creative storytelling.

Jay emphasizes the importance of understanding the technical aspects of cinematography while also nurturing one’s artistic vision. He encourages readers to experiment with different techniques, test, try and learn about the latest technology, and build a strong network within the industry.

Key takeaways:

Master the fundamentals: A solid grasp of technical knowledge, including lighting, exposure, and camera movement, is essential for successful cinematography.
Develop your artistic eye: Cinematography is as much about creativity as it is about technical skill. Experiment with different styles and techniques to find your unique voice.
Build a strong network: Networking with other filmmakers can provide valuable opportunities, mentorship, and support.
Create a compelling reel: A well-crafted reel is a powerful tool for showcasing your skills and attracting potential clients, especially before you have agency representation.

You can buy Shotcraft: Lessons, Tips & Techniques on the Art and Science of Cinematography on Jay’s website: http://jayholben.com/shotcraftbook

Jay has a companion book to Shotcraft coming out next month. It covers tips and stories from the top cinematographers in the world such as Roger Deakins, Harris Savites, Janusz Kamiński, and Greig Frazier.

Find Jay Holben: http://jayholben.com/
Instagram: @jayholben

**WIN A COPY OF SHOTCRAFT! Like, Follow and Comment on our post for this week’s episode on Instagram, Facebook or Threads and we will pick a winner**
*Winner must be within the continental U.S.!*

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Sponsored by ARRI: https://www.arri.com/en

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
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By Illya Friedman

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August 14, 2024

Lessons in Chemistry: DP Zachary Galler’s visual formula

The Apple TV+ show, Lessons in Chemistry, is a period piece set in the 1950s. Elizabeth Zott (Brie Larson) is a brilliant chemist whose career is derailed by sexism. Denied her scientific aspirations, she finds an unexpected platform hosting a cooking show, using it to empower women and challenge societal norms.

Zachary Galler, one of the Emmy-nominated cinematographers behind the stunning visuals of Lessons in Chemistry, brought a unique perspective to the 1950s drama. Rather than indulging in nostalgia, Zack aimed to create a lived-in world that resonated with contemporary audiences. The team chose the ARRI Alexa Mini LF camera because it handles natural light very well. After many lens tests, they picked Canon K 35 lenses, which Zack felt were quite flattering.

One of the show’s most visually striking settings was the chemistry lab. While it might seem like a dream location for a cinematographer, Zack found unique challenges. “So much of what chemists do is pouring clear liquids into other clear liquids,” he explained. To overcome this, Zack focused on creating spaces that allowed for dynamic performances, emphasizing natural light and embracing imperfections to enhance the authenticity of the scenes.

Zack and his team meticulously planned their shots, opting for side lighting to draw viewers into the characters’ worlds. They also employed practical techniques like dollies and Steadicams for dynamic walk-and-talk scenes. To capture the era’s aesthetic, Galler developed a custom LUT inspired by vintage food photography. However, the power of the performances ultimately led to a decision to tone down the LUT, allowing the actors to shine without visual distractions.

Collaborating with fellow cinematographer Jason Oldek on the series was a highlight for Zack. “I feel like what’s really successful about the show is the comprehensive world-building that we did,” he said. Together, they crafted a visual language that captured the essence of the 1950s without resorting to clichés, creating a world that felt both familiar and fresh.

Find Zachary Galler: https://www.zacharygaller.com/
Instagram: @zachary_galler

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Facebook: @cinepod
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By Illya Friedman

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August 7, 2024

House of the Dragon & Jim Henson: Idea Man cinematographer Vanja Černjul, ASC

For cinematographer Vanja Černjul, ASC, finding creative inspiration within House of the Dragon season 2 wasn’t difficult. “House of the Dragon includes such a range of settings, from huge battle scenes to remote locations with just a small crew, a camera and tripod,” he says. “What’s in front of the camera is so strong that you really have to exercise every filmmaking or storytelling muscle that you have developed over the years.”

Vanja was the director of photography for episodes 6 and 7 and the production team chose to use the ARRI Alexa 35 for season 2. They knew that the Alexa’s superior sensor would retain all the details of candlelight and fire, showing the highlights of light without blowing out the source. Vanja was happy that House of the Dragon Season 2 included many more locations and amazing sets on a large backlot, with much less filming on volume stages. The volume stages were mainly used for the dragon riding scenes, on a stage in London with three large LED screens surrounding the actors on a mechanical device.

The pre-production and prep process for House of the Dragon season 2 was lengthy and extremely detailed. Five director and DP teams worked on eight episodes. They started with creating a shot list that was approved by the show producers, then shared with the visual effects department and storyboard artists. “In order to create the best visual effects, they needed to know what we were going to do on location as early as possible,” says Vanja. “It really streamlined the visual effects process and allowed enough time for them to build excellent visual effects.” Prep was just as intense as the pre-production period. House of the Dragon was a huge production that required multiple directors, DPs, and assistant directors to prepare each episode while others were being shot. All five teams had to shoot and share the same locations, so there was a rigorous schedule with little room for extending shoot days.

Episode 7 features a stunning dragon battle sequence, seamlessly done as what appears to be a oner. Vanja worked with director Loni Peristere to plot out the scene, which takes place in a huge cave where the dragons live. All the action was centered around the shot, and featured practical stunts. “There were 16 people on fire in a dragon battle in one scene. It’s really mind-blowing when you’re there in person, they really know what they’re doing- but it’s people on fire, falling from the ceiling!” says Vanja. Once the stunt person was ignited, they could only be on fire for a few seconds, so it was important to get the shots as fast as possible.

Vanja is also Emmy-nominated for the documentary Jim Henson: Idea Man, along with friend and fellow cinematographer Igor Martinović. Vanja grew up watching The Muppet Show, and is a huge fan of Jim Henson’s work. Vanja and Igor worked together to shoot all the interviews for the documentary, as well as the stop-motion sequences within it. Vanja had never shot any stop-motion animation before, so it was a fun and interesting challenge. All the interviews were shot first, in several different locations and over a long period of time, so it was important that all of the scenes matched. They chose a set design that could be reproduced no matter where it was located, keeping exact notes of the depth of field, camera placement, and lighting.

Find Vanja Černjul: https://vimeo.com/showcase/5574603
Instagram: @vanjacernjul

Sponsored by Hot Rod Cameras www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
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By Illya Friedman

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July 31, 2024

Echo: Breaking barriers with Kira Kelly, ASC

Echo continues the journey of Maya Lopez, a skilled fighter who was first seen in the Marvel series, Hawkeye. After the death of her father, Maya escapes Kingpin’s gang by returning to her Choctaw Nation home in Oklahoma. It’s the first Marvel series to feature a Native American character and explore indigenous culture and history. As Maya Lopez, Echo star Alaqua Cox breaks barriers as a deaf, indigenous amputee.

Cinematographer Kira Kelly, ASC enjoyed crafting a Marvel story that didn’t require a rigorous backstory from previous Marvel movies or shows. The script included depictions of the history of the Choctaw, including the Choctaw creation myth. “What starts the pilot is the creation myth of the Choctaw people, which had never been shown before,” says Kira. “Sydney Freeland, our director, made sure we did it in a very respectful way, and a way that was authentic to (the Choctaw.) Being able to be part of that visual storytelling is not something that you get to do every day.”

Different parts of Echo are separated by a specific look and feel. Most of the series was shot using anamorphic lenses, but Kira chose 12 and 20 mm spherical lenses to depict the beginning of the Choctaw nation at the dawn of time. For Maya’s world in New York, Kira used darker and more desaturated lighting. She and director Sydney Freeland agreed that once Maya goes back home to her roots in Oklahoma, deeper, more saturated colors should be part of the visual story.

Kira enjoys lighting, and a big part of it is speaking with the production and set designers about what can be built in naturally for success later. She purposefully changed the treatment of the light between the characters of Fisk (Kingpin) and Maya. For Fisk, she played with a direct, single source side light on his face that created more falloff and emphasized shadows to question his loyalties and motivations.

Echo was Kira’s first experience shooting extensive action sequences and working with a large second unit. She particularly enjoyed recreating the Choctaw Powwow in Oklahoma for the final sequence at the conclusion of the series. The crew had visited the real powwow on a scout, and some of the dancers were hired to perform for the show. “It was a really emotional sequence because we got to be a part of this thing that people who aren’t Native American never get to experience. We had created this space for it and the people who are a part of it came up and said, ‘This is like a real powwow. You guys created a powwow.’ And so it was an honor to be part of something that was visually fulfilling and a great challenge.”

Kira is partnering again with director Sydney Freeland for her film, Rez Ball, coming this fall.

Hear our previous interview with Kira Kelly. https://www.camnoir.com/ep67/

Find Kira Kelly: https://www.kirakellydp.com/
Instagram: @kirakellydp

Sponsored by Hot Rod Cameras www.hotrodcameras.com
Sponsored by ARRI: https://www.arri.com/en

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
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By Illya Friedman

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July 24, 2024

Illuminating In The Arena: Serena Williams with DP Ayana Baraka

In the Arena: Serena Williams is the second season of the ESPN+ documentary series. Through a series of intimate interviews with Williams and others, the show offers an in-depth look at the legendary tennis player’s life and career.

Cinematographer Ayana Baraka was the director of photography for the entire 8-episode series. She met with the production company, Religion of Sports, with her images and pitch prepared. “We had the same ideas about lighting. I was familiar with (Season 1 of the series) Man in the Arena: Tom Brady and so I know that we wanted to honor season one, but at the same time Serena is a a different person, a different athlete.” A few weeks later, Ayana was called to meet with Serena for lunch. It was very nerve wracking, but she felt confident in the meeting.

Once she was hired, Ayana researched and tested all the equipment she wanted to use. She selected the ARRI ALEXA LF with Cooke Anamorphic lenses. Illuminating Serena properly for the sit-down interviews was extremely important to her. She created custom LUTs for Serena’s skin to bring out her pinkish undertones. The falloff of the light from the backdrop also had to be just right. Ayana used rags (different thicknesses of fabric diffusion to modify light) and bounced the light for a 180-degree lighting setup. To set each episode apart, Ayana changed up the lighting slightly.

Growing up in New Jersey, Ayana initially went into the health care industry. While in college, she took a film class and made a short documentary about a person struggling with their mental health. Ayana pursued her career in health care, but didn’t feel like she was changing lives the way she wanted to. She started getting film jobs in New York and became an ARRI prep tech, which enabled her to learn the technical aspects of camera work and test into the IATSE Local 600, the International Cinematographer’s Guild. Ayana felt she wanted to learn more about film and storytelling, so she went to graduate school at USC. As a woman of color, she felt that director Ryan Coogler, who was a recent graduate of the program, had opened up a world of opportunity. “We have the success of Ryan Coogler, and I know it was different for people who came before me, people of color or black folks. My class, it was so diverse. And I think it was because he let that charge and he showed we have stories to tell, and people will watch our stories.”

Ayana also shot the documentary Uncharted, about singer Alicia Keys’ She Is the Music songwriting camp. It premiered at the Tribeca Film Festival last year and is currently on the film festival circuit.

In the Arena: Serena Williams is available on ESPN+ and Hulu.

Find Ayana Baraka: http://www.ayanabaraka.com/
Instagram @iseeflicks

Sponsored by Hot Rod Cameras www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
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By Illya Friedman

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