August 14, 2026

Michael Bauman on building horror for Monster: The Ed Gein Story

DP Michael Bauman, ASC on shooting Monster: The Ed Gein Story, building a visual language with period lenses, and lighting with just reflectors and flashlights.

Podcast highlights include:

-How Michael built a distinct visual language for each era with lensing shifting from period to period. Color and texture gave the digital image a weathered, film-period feel.
-Lighting the Emmy-nominated Episode 6 sequence almost entirely with reflected and practical light. Rather than lighting the set conventionally, the crew bounced light and had actors sweep real flashlights themselves, revealing the horror gradually.
-Why the “less is more” philosophy shaped how the show handles its most gruesome material. Instead of extreme gore, props and details were shot so that it was hard for the audience to see clearly, with sound design and suggestion doing the work.
-How a single unbroken shot in the hardware-store reveal scene grew out of a scheduling crunch. Short winter daylight forced a one-take solution that ended up becoming one of the episode’s most cinematic moments.

Find Michael Bauman: Instagram @baumanlights
Monster: The Ed Gein Story is currently streaming on Netflix.
Hear our previous interview with Michael Bauman on One Battle After Another. https://www.camnoir.com/ep343/

SHOW RUNDOWN:
02:14 Close Focus
11:37-53:40 Michael Bauman Interview
53:57 Short Ends
01:03:50 Credits

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

By Illya Friedman

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August 7, 2026

Shooting mud, fog and firelight in A Knight of the Seven Kingdoms

DOP Gustav Danielsson, FSF on shooting HBO’s A Knight of the Seven Kingdoms with naturalistic firelight, practical battlefield fog, and in-camera POV shots

Podcast highlights include:

-How Gustav and director Owen Harris planned the show’s night time, fire-light-driven look.
-Beginning their shoot day at dusk to catch the natural blue hour light in the wide shots before moving into closer setups.
-Pulling off the massive dueling tournament in Episode 5, using practical fog and mud to set the mood.
-The sinister gray mist was chosen as a practical solution to use fewer extras, and added to the atmosphere of dread as it obscured the combatants. As for the mud, it looked great, but the production team had to adjust as it quickly became hard as concrete when it dried.
-Using a Ronin 4D rigged to an operator’s chest for the helmet POV shots. Rather than adding digital effects, the second unit shot the visceral mace-impact perspective entirely in-camera.
-Shooting the flashback sequences on a Panavision’s T-Series Anamorphic lenses to distinguish it from the present-day story without adjusting the color grade.

Find Gustav Danielsson: https://gustavdanielsson.com/
Instagram: @gustavdanielssson

A Knight of the Seven Kingdoms is currently streaming on HBO.

SHOW RUNDOWN:
02:39 Close Focus
10:44-01:04:42 Gustav Danielsson Interview
01:05:10 Short Ends
01:14:26 Credits

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

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

Sponsored by Hot Rod Cameras www.hotrodcameras.com

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

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
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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August 23, 2023

Still: A Michael J. Fox Movie cinematographers C. Kim Miles, Clair Popkin and Julia Liu

Still: A Michael J. Fox Movie explores the life of actor Michael J. Fox in his own words. It’s a moving and heartfelt documentary as he talks about his rise to fame in the 1980’s with the TV show Family Ties, the Back to the Future movies, and what his life is like living with Parkinson’s Disease. Fox’s story is told with personal interviews, archival footage and reenactments.

Cinematographers C. Kim Miles, Julia Liu and Clair Popkin all worked separately on different portions of Still, and all three are Emmy-nominated for their work on the documentary. Julia served as the primary DP for the interviews with Fox, discussing the look with director Davis Guggenheim. They storyboarded the interviews, including shots and lighting, with ideas for moods to evoke different parts of Michael’s life. Guggenheim wanted most of the interviews to feel like they were locked off, just like the title. It provided a contrast to the archival footage, where Fox is incredibly acrobatic and frenetic.The interview and b-roll of present-day portions of Fox’s life were not completely verite- Julia would approach each action with a plan, and do a few takes.

DP Clair Popkin joined the team when Still already had edited raw assemblies of scenes with archival footage cut in. It provided him with a clear idea of how to match and transition interview scenes in and out of the archival video clips. Clair had worked with Guggenheim on several documentary projects in the past, and he was able to step in and shoot the interview portions Julia wasn’t available for.

Finally, cinematographer C. Kim Miles shot all of the reenactment portions of Still. He met with Guggenheim, who he considers to be the king of planning, but also flexible enough to shoot off the cuff on the day. Since the reenactments came in at the end of the process, Kim found it tremendously helpful to see the rough cut and match the look. He was able to create a softer, more idyllic look for Fox’s past memories. Kim and the crew spent 20 days shooting the reenactments, and Fox personally thanked everyone for their part in telling his story.

For both Julia and Clair, it was very exciting to work with Fox. It was not just a job- everyone was also a fan, and Julia was thrilled to meet him. Clair felt so much joy and positivity from Michael J. Fox, who was also a consummate professional.

Find Julia Liu: http://julialiufilm.com/about @jucliu

Find Clair Popkin: http://clairpopkin.com/ @clairpopkin

Find C. Kim Miles: https://ckimmiles.com/ @kimiles

Still: A Michael J. Fox Movie is currently on AppleTV+

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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August 16, 2023

Black Bird cinematographer Natalie Kingston

The Apple TV+ series Black Bird is cinematographer Natalie Kingston’s first experience shooting a television show. As the sole DP for the 6-episode series, she enjoyed the ability to create the look of Black Bird from scratch and maintain it throughout the nearly 100 day shoot. Her hard work has paid off with an Outstanding Cinematography Emmy nomination for the episode, “Hand to Mouth.”

Black Bird is based on a true story about Jimmy Keene, who is sentenced to 10 years in a high-security prison on drug dealing charges. He’s given a chance of a fully commuted sentence and a clean record if he can befriend and obtain a confession from convicted serial killer and rapist Larry Hall. Acclaimed crime writer Dennis Lehane wrote all the scripts for Black Bird, and he allowed the actors and crew some creative freedom with their lines and storytelling.

With multiple directors, Natalie was responsible for maintaining the integrity of the visual language in Black Bird. She chose to keep the camera work visceral, grounded and non-judgemental, with only purposeful camera movement. On other projects, she had always operated the camera as well, but because of the scope and hours of material to shoot, Natalie found it was more efficient for her to step back and allow the camera operators to handle the bulk of the camera work. It was a completely new way of working to stay behind the monitor, but it became a collaborative effort with the rest of the camera crew.

Natalie grew up in Louisiana, making up her own home movies with her parent’s camcorder and checking out children’s stage play books from the library. She knew she definitely wanted to do something in the movies. Cinematography specifically became her passion because she enjoyed being on set and in charge of making someone think and feel a certain way. After college, she got a job at a local TV station, where she created her own documentary show, learning how to shoot, edit and build the fundamentals of telling a story. After that, Natalie began working on small local productions to pay the bills, building up to documentary films and features in Louisiana.

Find Natalie Kingston: www.nataliekingston.com
Instagram: @nataliekingston

Black Bird is currently on AppleTV+

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

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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August 9, 2023

Cabinet of Curiosities cinematographer Anastas Michos, ASC, GSC

Cinematographer Anastas Michos ASC, GSC humbly calls himself a journeyman cinematographer. However, after 25 years and multiple awards, Anastas possesses expert skill and versatility that can be seen across all genres. Most recently, Anastas was nominated for an Emmy for “The Autopsy,” an episode of Guillermo del Toro’s Cabinet of Curiosities anthology TV series on Netflix.

Del Toro selected the directors for each episode of Cabinet of Curiosities, and he chose idiosyncratic directors who brought their own sensibilities to each piece. Anastas had worked with “The Autopsy” director David Prior before on a horror film called The Empty Man, and they enjoyed collaborating together again. Anastas enjoyed working on Cabinet of Curiosities because it felt like making a short film rather than a TV show, with each piece a crafted short story rather than a serialization. For a consistent look, each episode used the same production designer, Tamara Deverell,  who also did the production design for del Toro’s Nightmare Alley. While shooting the episode, Anastas was always conscious that “The Autopsy” should fall under the look of del Toro’s brand.

Anastas has always enjoyed shooting horror films because they explore the human condition in a very specific way. The cinematographer can creatively stretch the imagination and the image in a way that can’t be done as much in dramas, comedies or romances, since they’re usually based in our day to day reality. But Anastas likes to switch around among genres- after working on an intense horror film such as Texas Chainsaw 3D, a light rom com might sound really good. He’s interested in any project that has a great story, script, director and crew.

Before finding his way behind a camera, Anastas thought he’d go into the music business since he grew up in a musical family. Instead, he became a news cameraperson, learning visual storytelling on the job. He’s found that his music background has actually served him well as a cinematographer- he feels musicality is very much a part of camera movement. One memorable time early in his career, Anastas was working Steadicam for Born on the Fourth of July. Director Oliver Stone pulled him aside and had Anastas put on a walkman so that he could move the camera to the pace of the music Stone wanted.

After working as a camera and Steadicam operator for several years, Anastas got to shoot his first feature as a DP for Man on the Moon. Anastas found director Milos Forman to be simultaneously generous and demanding, with the capability of recognizing someone’s potential and holding them to it.

Guillermo del Toro’s Cabinet of Curiosities anthology TV series is on Netflix.

Find Anastas Michos: http://anastasmichos.com/
Instagram: @anastasmichos_asc_gsc

IT’S A BOOK GIVEAWAY! WIN an autographed copy of Junk Film: Why Bad Movies Matter by Katharine Coldiron. Follow us on Instagram @thecinepod, Threads @thecinepod Facebook @cinepod or Twitter @ShortEndz and comment on our post about the book giveaway!

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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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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May 25, 2022

Filmmakers James Lee Hernandez and Brian Lazarte on their new documentary series, The Big Conn

James Lee Hernandez and Brian Lazarte are Emmy-nominated documentary directors and producers for the HBO documentary series, McMillion$. Brian and James return to Cinepod to talk about their latest documentary, The Big Conn, now airing on Apple TV+.

The Big Conn is a four-part documentary series that tells the unbelievable true story of larger-than-life attorney, Eric C. Conn. Conn stole over half a billion dollars from the government and taxpayers in the largest Social Security fraud case in United States history. Conn got away with it for more than 10 years before two whistleblowers told the FBI what he was doing and Conn went on the run.

Documentary filmmaking has grown and elevated as an art over the years, and James and Brian take a cinematic approach to the form. Their previous documentary series, McMillion$ had a thread of comedy throughout, with such interesting characters that it reminded them of a Coen brothers movie. For The Big Conn, Brian and James took a similar approach. They dive deep into Eric Conn’s life, using comedy to hold the audience’s interest, but underneath it’s a very serious exposé about the broken American Social Security system.

To put together such sprawling stories, James and Brian create a story outline, determine who the interviewees should be, interview the characters, write a script and then decide where they need to put in animated graphics, archival footage and recreations during the editing process. Talented cinematographer Jeff Dolan has worked with the team for years, shooting both interviews and recreations on The Big Conn and McMillion$. Brian and James planned out and put together a guide for lighting and shot composition for the look of the interviews, based on shots from scripted movies they love.

The Big Conn is a 4-part documentary series currently airing on Apple TV+.

James and Brian have a podcast to accompany The Big Conn, diving deeper into the story and subject matter. https://podcasts.apple.com/us/podcast/the-big-conn-the-official-podcast/id1621583098

Fun Meter, James and Brian’s production company: https://www.funmetermedia.com/
Instagram: @funmeterofficial

James Lee Hernandez: @iamthejlh
Brian Lazarte: @bdlazarte

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep169/

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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September 8, 2021

Emmy-nominated cinematographer Donald A. Morgan, ASC on The Upshaws, The Conners, Last Man Standing, shooting multi-camera television shows

Cinematographer Donald A. Morgan, ASC has won 10 Emmys and is nominated this year for three more for his work on Netflix’s The Upshaws, Fox’s Last Man Standing, and ABC’s The Conners. Like a few cinematographers, Donald had some experience studying architecture in college, which enabled him to take two dimensional drawings and visualize them in three dimensions. He also thought he’d be a professional baseball player or a musician- his father was a musician who played in Cab Calloway’s band, so Donald grew up around musicians and stages. By his mid-20’s he had a job working at KTTV in Los Angeles in the mailroom while trying to make it with his own band in the 1970’s, and was soon offered a position in the lighting department. He found his experience reading architectural plans made it easy to understand electrical schematics. Donald worked on the lighting crews for several different shows produced by the legendary Norman Lear, such as Good Times, The Jeffersons, and Diff’rent Strokes, plus many other shows. Donald knew working on shows produced by Lear were progressive and groundbreaking for the time, telling stories about people of color like himself, and Lear made it a point to hire a diverse workforce for his shows. Soon, Donald was offered a union job as a DP on two shows on the Universal lot- Silver Spoons and Gloria. Donald was able to learn more about cinematography while working on the Universal lot by visiting several different film stages and making notes on how different DPs worked.

Working on three camera shows, the whole set can be lit before there’s any blocking, because typically, comedies use very high-key lighting. Donald notes where the walls and doors are, and then most sets can be lit with standard three point lighting.  For The Conners, as the show becomes a bit darker, Donald subtly shades the room for more drama, and brightens the room as the mood lightens. Most multi-camera shows use three to four fixed cameras, and dolly in for shots rather than just panning. Donald also uses a jib arm camera on the show Last Man Standing, a technique he began using back on Home Improvement. The jib arm came into use on Home Improvement because the character Mr. Wilson, Tim Allen’s neighbor, was never seen over the fence, and the camera crew had to get creative with how to shoot those scenes.

Donald enjoys working on multi-camera studio shows because it keeps him local, and he’s been able to spend more time with his family with three weeks on and one week off, with the longest days about 10-12 hours. He tries to keep the work as creative as possible, always watching and learning about new techniques he can bring to the shows he shoots. Though Donald is very experienced with shooting multi-camera shows, he will often shoot single-camera short films to keep his skills fresh.

You can see Donald A. Morgan’s work: https://vimeo.com/12993063

You can watch The Upshaws on Netflix and find episodes of The Conners and Last Man Standing on Hulu.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep139/

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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