August 21, 2026

Bringing indie instincts to Voicemails for Isabelle

DP Julia Swain on faking the Golden Gate Bridge, rigging a real tour bus, and bringing indie instincts to Netflix’s Voicemails for Isabelle

Podcast highlights include:

-How Julia shot the film’s pivotal Golden Gate Bridge overlook scenes without using a stage. The team scouted the real Marin Headlands, built a 3D map of the exact sightline, then recreated the spot in a Vancouver park at night, using blue screen only where the bridge needed to be.
-How Julia pulled off shooting the most difficult scenes of the film: a real tour bus driving through San Francisco instead of faking it on a soundstage.
-Why stepping up in budget didn’t change how she and McKendrick actually work. The instincts built on tiny indie sets, and knowing what to prioritize and when to pivot, became the exact skillset that Julia needed to let them move fast on a much bigger show.

Find Julia Swain: https://www.juliaswain.net/
Instagram: @juliaswain

Voicemails for Isabelle is currently streaming on Netflix.

Hear our previous interview with Julia Swain on The Dreadful. https://www.camnoir.com/ep347/

SHOW RUNDOWN:

03:21 Close Focus
10:35-51:52 Julia Swain Interview
52:13 Short Ends
02:00:07 Credits

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

July 30, 2026

Matt Ball on shooting in remote regions for Tucci in Italy

DP Matt Ball on shooting Tucci in Italy Season 2, the challenges of journeying to remote regions over tourist spots, and capturing emotional moments on camera.

Podcast highlights include:

-How the show featured lesser-traveled regions like Sardinia, Le Marche, and rural Abruzzo to capture authentic regional culture.
-Running a lean, self-contained crew for shoots in remote and hard-to-reach locations. The production has a “no egos allowed” policy where everyone — including Stanley Tucci himself — pitches in to make the day work.
-Why what you see on screen is pretty close to what actually happened on the day, with editing driven mostly by time constraints rather than reshaping the story.
-And a hint at the upcoming show, Tucci in Great Britain, exploring British food history, identity, and the influence of immigrant communities on the national cuisine.

Find Matt Ball: https://mattballcamera.com/
Instagram: @mattbcam

Tucci in Italy Season 2 is currently streaming on Disney+, Nat Geo, and Hulu.

Hear our previous episode with Matt Ball on Tucci in Italy Season 1. https://www.camnoir.com/ep320/

SHOW RUNDOWN:
02:08 Close Focus
09:16-50:32 Matt Ball Interview
51:09 Short Ends
01:04:55 Wrap up/Credits

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

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

Sponsored by Hot Rod Cameras www.hotrodcameras.com

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