September 6, 2023

Killing It cinematographer Judd Overton

Killing It is a satiric comedy on Peacock starring Craig Robinson as Craig Foster, an aspiring entrepreneur struggling to start his business. The show pokes fun at the absurdities of American capitalism, class, race, health care, and how it’s all stacked against the little guy.

Cinematographer Judd Overton shot all episodes of Killing It for both season one and season two. His approach to shooting the comedy has always been to keep it relatable and naturalistic, even though the characters are going through things that might seem ridiculous. With three cameras, it was also important to create a space for the actors to do their best work- they would often improvise and try to sharpen their jokes on set. Shooting with longer lenses gave them room to move. The composition and lighting also have to play together for the humor to hit. Each of the characters in Killing It have their own episode, and the lighting is influenced by the places they’re in, such as a strip club or a huge mansion. Judd feels that planning is essential, and he had to think on his feet to be able to change blocking or the time of day a scene was shot. One scene in Killing It from season two required a lot of stunt work and fight scene blocking in an automotive chop shop, but the comedy beats weren’t working. Without the comedy beats, the fight scene just wasn’t going to play. They had to stop, reblock and shoot again to work out how to make it feel funny.

Judd grew up in the outback of rural Australia, and his family would buy VHS movies for entertainment and watch them over and over. The kids would then reenact the movies, filming it with a camcorder, and edit them together. Growing up in the driest permanently inhabited place on earth meant that documentary crews would frequently come through, and Judd would go and watch them work. It inspired him to become a cinematographer, so he learned photography in high school and then became a camera assistant through the Australian Cinematography Society. He later attended the Australian Film Television and Radio School (AFTRS), won several awards for his student work and started getting offers to DP on larger films.

Judd’s next project is a feature film called Totally Killer, a slasher comedy that will be the closing night film at Fantastic Fest in Austin. It releases October 6th on Amazon Prime.

You can watch Killing It streaming on Peacock.

Find Judd Overton: www.juddoverton.com
Instagram: @juddovertondp
Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

October 12, 2022

Charlie Sarroff, cinematographer of the horror films Smile and Relic

Cinematographer Charlie Sarroff loves to shoot horror movies, and he knew when he read the script for the horror film, Smile, that it would be fun, gory and dark. This week (10/12/2022) Smile is still the number one movie in America, with the biggest opening of September and the highest box office take overall for its second straight week. Charlie and Smile director Parker Finn first met at a SXSW event, where each had movies showing at the festival. They found they had similar tastes and sensibilities. Finn loved Charlie’s previous work on the horror film Relic and asked Charlie to be Smile’s cinematographer. Movies such as The Ring, It Follows and Rosemary’s Baby were big influences on their approach to Smile. Charlie chose to build a sense of suspense with camera movement, so the audience feels as though a lurking presence was there at all times. They almost exclusively used wide lenses and no over the shoulder shots so that the character of Rose would always feel isolated. Every scene Rose is in, she is meant to feel disconnected from other people. Smiles were also a big motif in the film, of course, and served as a metaphor for the masks everyone wears.

As a kid, Charlie really loved skateboarding and video production became a big part of it. He had a camcorder and recorded skate videos of his friends. Charlie knew early on that he enjoyed shooting and editing more than directing, and he decided to go to film school in Melbourne. Friends in film school asked him to shoot their movies and he worked his way up, filming music videos and commercials. Charlie’s biggest break came when director Natalie Erika James asked him to shoot her short film Creswick which she expanded into the feature film Relic and was picked up by IFC. At first, the film’s backers wanted to go with someone more experienced to shoot Relic, but Charlie prevailed and the film ended up going to Sundance and SXSW.

Find Charlie Sarroff: https://charliesarroff.com/
Instagram: @charlie_sarroff

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep187/

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

January 26, 2022

Cinematographer Ari Wegner, ACS on shooting The Power of the Dog, working with director Jane Campion

Ari Wegner, ACS became a fan of director Jane Campion after seeing her short films in high school. Seeing those films opened Ari’s eyes to the possibilities of choosing filmmaking as a career. Several years later, she had an opportunity to work with Campion on a commercial in Sydney, Australia and found they shared a similar working aesthetic. Campion contacted her next about shooting The Power of the Dog, and wanted to work closely with Ari on prepping the film over the course of a year. Most DPs only have a few weeks to meet with the director, location scout, and prep the film. They began with location scouting in New Zealand, Campion’s home country, searching for the right mountains as the backdrop. The Power of the Dog takes place in 1920’s Montana, so finding the right location to build an entire ranch set was also important. Ari and Campion agreed that the colors in the film should reflect the natural environment of cattle, sun, dust, golden grass, and brown leather. The color palette was key to unifying the look of the film, from the costumes to even the color of the cows.

Ari and Campion spent the last month before the shoot storyboarding every scene, in a cabin closer to the set. As the set was being built, they would go to the location and walk through it to figure out if the shots were going to work. The ranch house exterior was built on location, while the interiors were built on a stage. The script also required knowing exactly where the actor’s eyelines would be as the characters stalk and spy on each other, so Ari needed to know the layout of the house very well so that the shots lined up just right. Campion always uses storyboards as plan A, and is open to things changing once the actors physically embody the characters and find their own unique moments and flow. Ari often filmed handheld in order to move in on the actor’s faces to capture the quiet moments, expressions and unsaid private thoughts of each character.

Ari’s work on The Power of the Dog was just nominated for an ASC Award.

Find Ari Wegner: https://luxartists.net/ari-wegner/
Instagram: @ariwegner

You can see The Power of the Dog on Netflix

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep156/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

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

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

February 17, 2021

Lachlan Milne, ACS, NZCS, cinematographer of Minari, Stranger Things, Hunt for the Wilderpeople and more

Lachlan Milne believes that finding a connection and building a friendship with the director of a film is the key to making great art. Growing up in Adelaide, Australia, Lachlan had a clear idea of what he wanted to do from an early age, since his father was a director and his mother was an editor. He got his foot in the door as an assistant prop master, but knew his calling was in the camera department. At first he was barely scraping by from job to job before getting more established as a cinematographer on small movies such as Uninhabited and Not Suitable for Children. His big breakout movie was 2016’s Hunt for the Wilderpeople with director Taika Waititi. Lachlan soon found a niche on challenging but fun supernatural movies such as Little Monsters, Martha the Monster, and Love and Monsters (coming soon to the U.S.) and then began work on the hit series, Stranger Things.

Working on a big budget show like Stranger Things was weird for Lachlan, who was used to making do on small budget movies. Stranger Things has the luxury of shooting on a stage, and everything is a built set, with walls and ceilings that could be removed for ease of shooting and lighting. The crew was even able to customize and control all the neon and lighting in Episode 8- The Battle of Starcourt to make the entire mall flicker on demand.

On his latest film, Minari, Lachlan and director Lee Isaac Chung decided the film needed to be one camera, that the pacing should be languid, simply and naturalistically shot. Lachlan feels that having a low budget actually worked to Minari’s advantage, because the best version of the movie was a film that relied more on capturing the performances rather than big showy shots. He favors holding out for a closeup until it’s emotionally warranted rather than doing it just for the sake of having closeups. Minari was a great opportunity for Lachlan to move back into shooting simple indie films. He and Isaac spent time together carefully shotlisting all the scenes. One of the most challenging aspects of shooting Minari was scenes in the trailer the family lives in. They used an actual trailer, and it was hard to cram sometimes up to 15 people into it, with no air conditioning and a limited range for camera motion and angles.

Lachlan Milne is currently shooting season four of Stranger Things.

You can watch Minari in theaters and streaming on VOD beginning February 26.

Find Lachlan Milne: https://info509786.wixsite.com/lachlanmilne

Instagram: @lachlanmilne

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep113/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Aputure: https://www.aputure.com/
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

September 8, 2020

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

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. She works on a gut and emotional level for films, getting across the feelings of the characters- a DP’s arsenal of tricks should only help convey what’s going on in the scene. For Mulan, Mandy and director Nikki Caro wanted to take a different approach from the Disney animated version, and were free to interpret the film as they wished. Mandy watched several Chinese action films such as House of Flying Daggers and went on location scouting trips to China to find the look and inspiration for the film. Mandy grew up in Australia and always loved photography, film and art, so she felt a passion to become a cinematographer right from the beginning. She skipped film school and began as a production assistant and loader in Australia, learning as she went on films such as Lantana, which was shot using almost only available light. Shattered Glass, which tells the true story of a journalist who made up the majority of his articles, was her first American film. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies, and she learned how to organize and delegate an entire camera department with multiple cameras. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure that how the characters were dressed and what they looked like matched the feel of what each scene is meant to convey. She watched a lot of archival footage from NASA, some of which was used in the film, and was thrilled to meet Katherine Johnson, one of the real-life subjects of the film.

Mandy Walker is currently working with director Baz Luhrmann again on a forthcoming biography film about Elvis Presley.

See Mulan on Disney Plus

Find Mandy Walker: https://www.mandywalkerdp.com/
Instagram: @mandywalkerdp

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep90/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

August 2, 2020

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

The Cinematography Podcast Episode 85: Greig Fraser

World-renowned director of photography Greig Fraser grew up in Australia, working as a still photographer before he moved into cinematography, shooting shorts, TV shows and films for several Australian directors. Greig’s most recently completed project is The Mandalorian, which recently earned him an Emmy nomination. At first, Greig felt incredibly nervous about working on the frontline development for The Mandalorian because of the massive amount of technology involved. His usual approach as a DP has been naturalistic lighting, in a real setting, rather than an entirely manufactured environment on a soundstage. The Mandalorian brought together gaming technology and set design, which could only be done with the support of ILM and Lucasfilm. The Star Wars series used 3D digital environments built with Epic Games’ Unreal Engine gaming technology that was capable of interacting with the cameras and was projected on huge LED screens for very realistic backgrounds on the soundstage. Greig was not a Star Wars newbie- prior to The Mandalorian, he was the cinematographer of Rogue One: A Star Wars Story. As a fan of Star Wars, Greig felt some trepidation at first about shooting Rogue One, because he was worried about losing that passion in the day-to-day while on set. Greig met with Rogue One director Gareth Edwards and loved his early film Monsters, so he was convinced to take the job. Grieg also discusses his work on the 2016 film, Lion, for which he received an Oscar nomination for Best Cinematography. Greig was extremely excited to shoot Lion- he and fellow Australian director Garth Davis had worked together a number of times. As a photographer, Greig had traveled and shot in India, and he loved being able to return to India and Melbourne to shoot such a great story. For Lion, Greig and Garth Davis wanted to be very respectful of Indian culture, and be careful of their choices not to oversensationalize images of poverty. Greig shot many of the railway scenes in the film at the level of a small child to capture the character Saroo’s feelings of loss and helplessness.

Grieg Fraser is the cinematographer of two hugely anticipated films coming soon: Dune with director Denis Villeneuve and The Batman, directed by Matt Reeves.

Find Greig Fraser: Instagram @greigfraser_dp

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep85/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

July 27, 2020

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

Special: The Cinematography Podcast- War Stories Vol. 3

In this super-sized War Stories Special, we feature eleven of our guest’s harrowing, hilarious or heartwarming stories of an experience they had while on set or when starting out in the film industry. Find full interviews with each of our featured cinematographers in our archives at www.camnoir.com or wherever you get your podcasts.

Cinematographer Laura Merians Gonçalves tells of a scary experience while shooting Pacified in the gritty favelas of Brazil, Seamus McGarvey on his first time using a Super 8 movie camera in film school, Charles Papert talks about working with Eddie Izzard on a grueling TV pilot, Charlotte Bruus Christensen’s story of shooting The Hunt with director Thomas Vinterberg almost entirely handheld while pregnant, Mike Dallatorre on dealing with the Mexican federales while working on Quantum of Solace, James Laxton’s early experience as a loader for an Errol Morris-directed commercial, Jaron Presant tells a funny story about making a huge error as a set PA, Don Morgan on getting hired because of a mistaken film credit, Roman Vas’yanov tells about his entirely too-real experience while shooting in the hood for End of Watch, Benoît Delhomme talks about crew issues while shooting The Proposition in the Australian outback, and documentary filmmaker Thorsten Thielow’s experience of shooting during an actual war.

Do you have a War Story you’d like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/warstories3/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

July 7, 2020

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

The Cinematography Podcast Episode 82: John Brawley

John Brawley began his career shooting television series in his native Australia, coming to the U.S. to shoot the USA series, Queen of the South. John approaches each project with a “visual manifesto,” or a set of rules for yourself and the crew to follow with the camera, lenses, lighting, and color story defining what you’re doing. John’s recent project, The Great, stars Elle Fanning as Catherine The Great and Nicholas Hoult as Peter, the (not great) king of Russia. John worked closely with series creator Tony McNamara, a fellow Aussie who also received an Oscar nod for writing The Favourite. While shooting, John, Tony and the production designer determined that all the light sources be consistently candlelight, daylight, or firelight. Since it was Catherine’s story, she was always in the center of the frame and her close-ups were always just a little closer. The UK is the home of period drama, but Tony McNamara wanted The Great to be “punk history” or satire, taking liberties with the Catherine The Great story, both in costuming and language. He and John also resisted the urge to do period cliché visuals- for example, they did not use any “sweeping” crane shots and avoided using excess smoke for atmosphere. The Great was just renewed for a second season.

Find John Brawley: http://johnbrawley.com/
See some tech tests from John’s projects: https://johnbrawley.wordpress.com/
Instagram: @johnbrawley

See The Great on Hulu: https://www.hulu.com/welcome

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep82/

Sponsored by Hot Rod Cameras www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments

May 13, 2020

Toby Oliver, ACS talks Dead To Me Season 2, working with Jordan Peele on Get Out, horror films The Darkness and Happy Death Day, Mötley Crüe movie The Dirt, and the upcoming Barb and Star Go To Vista Del Mar

The Cinematography Podcast Episode 74: Toby Oliver

Toby Oliver was an experienced cinematographer in his native Australia for a few decades before moving to the U.S. and establishing himself as a DP. He worked with fellow Aussie director Greg McLean on Wolf Creek 2 and other horror genre movies for Blumhouse Productions such as The Darkness. When shooting any genre or time period, Toby believes color palette is important and enjoys working with production designers to fine-tune the look. This was especially true for the Mötley Crüe biopic The Dirt, which takes place across the 1980’s. Consistency and continuity of visuals have also played a big part in Toby’s films, such as Happy Death Day and the sequel, Happy Death Day 2 U. Both films rely on the “Groundhog Day Trope”- as in, the main character must repeat the same day over and over again, so keeping continuity in sets, camera setups and lighting was important. Toby met director Jordan Peele through his connections at Blumhouse. Jordan Peele, as a first time director, needed an experienced DP and hired him for Get Out. They collaborated closely and created the look of “The Sunken Place” in the movie. For Season Two of Netflix’s Dead to Me, Toby tried to keep the look of the show consistent with the first season, just tweaking lighting and camera angles to be more flattering to the actors. It took a little bit of adjustment getting used to shooting series television, but Toby also got to rely on his horror background for some of the creepier scenes.

Dead to Me Season Two is currently streaming on Netflix https://www.youtube.com/watch?v=HmU7ylnmn_M

Find Toby Oliver: https://tobyoliver.com/
Instagram @tobyoliverdp
Twitter @tobyoliver67

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep74/

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

.

In Cinematography Podcast, Latest Posts, Podcast Episodes

.


0 comments