July 28, 2021

Cinematographer Adam Bricker on shooting the Emmy-nominated series Hacks, Chef’s Table and more

One of Adam Bricker’s favorite things about being a cinematographer is the opportunity to collaborate with different filmmakers, try something new and make each project the best it can be. His most recent project is the HBO Max comedy series Hacks, which just earned him an Emmy nomination for best cinematography. Adam was given the scripts for the first two episodes, and loved the pilot script, which opens with a long Steadicam single shot following behind the main character, Deborah Vance, played by Jean Smart, for two minutes, until her character is finally revealed in the dressing room vanity mirror. Adam knew it’s a rare thing to find a half-hour comedy with that level of cinema, and he was excited to shoot the show. Hacks takes place in Las Vegas, about a legendary comedian who is losing relevance and fading from the spotlight. Adam and show creator Lucia Aniello used vintage Las Vegas movies and photos as a reference point, as well as films such as Soderberg’s Behind The Candelabra and Judy with Renée Zellweger. Adam likes to set the look based on how the viewer is supposed to feel, and he makes notes in his scripts about what emotions should be felt in each scene. Most of Hacks is filmed on tripods and dollies, but for the verbal duels between characters Deborah Vance and Ava, her young comedy writer/protégé, Adam chose to shoot handheld, which gives those scenes more energy and naturalism. Lighting on the show goes from naturalistic, when Deborah is at home or when Ava is in Los Angeles, contrasted with vintage glamorous stage lighting when Deborah performs her comedy act.

Adam grew up in Chicago and attended film school there before attending the USC summer cinema program, which inspired him to transfer to USC and continue studying cinematography. After college, Adam began taking as many jobs as he could, and planned to work his way up through the camera department, before a DP mentor suggested he buy a camera and take as many cinematography jobs as possible. He and a group of friends invested in a Red One digital camera, and Adam shot dozens of music videos and low-budget films.

The Netflix series Chef’s Table has taken Adam all over the world. As one of the primary DPs of Chef’s Table, Adam and show creator David Gelb have established the artistic look of the modern cuisine documentary, which has since been imitated by countless other food shows. When the show began, Adam had never shot a documentary before, so he had a more cinematic approach to the show, only using prime lenses and no zoom lenses. For him, it’s been a dream job to explore new places, eat amazing food at excellent restaurants and work with good friends on the crew.

Find Adam Bricker: https://adambricker.com
Instagram: @realadambricker

You can see Hacks on HBO Max.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep133/

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

November 11, 2020

Iris Ng, documentary cinematographer of Stories We Tell, Shirkers, Making a Murderer, and more

As primarily a documentary cinematographer, Iris Ng always asks where the camera should be at a given moment and how is it supposed to behave. She approaches a project asking about the perspective- is it supposed to be deeply personal, from within the lived experience of the person it’s about, or more observational and objective, from the outside looking in?

Quite a few of the documentaries Iris has worked on are deeply personal stories. Her first big feature was on fellow Canadian Sarah Polley’s film, Stories We Tell. The film integrated Sarah’s family home movies, shot on Super 8, into contemporary interviews with Sarah’s family members, and reenactments shot on Super 8 with actors in 70’s and 80’s era costumes. Iris ended up using several Super 8 cameras to shoot with, since the film cartridges are so short and the cameras had to be constantly swapped out and reloaded. Stories We Tell required a great deal of sensitivity as each person told their story of Sarah’s mother, Diane, a charismatic actor with many secrets who passed away in 1990. The documentary was critically acclaimed and received an Oscar nomination.

Iris took a similar approach to the documentary Shirkers. Like Stories We Tell, Shirkers uses personal excavations and film material from the past to examine it for answers. As a teen, writer/director Sandi Tan and her friends had made an indie film in Singapore called Shirkers. Their film teacher disappeared with all the footage once shooting had wrapped, and Sandi wanted to tell the story about tracking down what happened to the film through interviews with friends while going back to retrace the experience. They chose interesting setups and locations for interviews, and Iris would often turn the camera on Sandi to capture her reactions as she was reliving her past.

For the Netflix documentary series Making A Murderer, Iris had a different challenge. Iris came to the project on year nine of filmmakers Laura Ricciardi and Moira Demos’ ten year process of shooting the series, and used her artistic eye to help elevate and add to the the previously shot footage. Each of the two seasons was 10 episodes long, so it was a matter of ensuring that there was enough coverage and angles, such as the exteriors of the Manitowoc County Courthouse for the filmmakers to work with.

Iris Ng is currently shooting more narrative projects, such as the web series Hey Lady for CBC Gem.

Find Iris Ng: http://iriscinematography.com/
Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep100/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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